INSIGHTS FROM THE STAR 2.0 NATIONAL SURVEYS
As part of the STAR 2.0 project, a series of national surveys were conducted in Italy, Ukraine, Portugal, the Czech Republic, and the Netherlands. These surveys aimed to assess youth workers’ perspectives on street art, their competencies in using it for community engagement, and the key areas where further training is needed. The findings serve as a preliminary step in shaping the STAR 2.0 online training course, ensuring that the curriculum is aligned with the real needs and challenges faced by youth workers in different countries.
A total of 119 youth workers participated in the surveys, providing diverse insights based on their experiences and local contexts. The breakdown of respondents by country is as follows:
Below, we explore the key findings from each country, highlighting both common trends and unique national perspectives.
Key Findings
Confidence in using street art to promote critical thinking and social dialogue was mixed. In both Italy and Ukraine, only half of the respondents felt confident incorporating street art into discussions on social issues, while the other half were uncertain. Portugal stood out with stronger results, where most participants felt highly confident, rating their ability between 8 and 10 out of 10. In contrast, the Czech Republic showed divided responses, with some youth workers feeling prepared while others remained hesitant about applying street art for social engagement. In the Netherlands, responses aligned more closely with Portugal, with many participants rating their confidence at 8 or higher. However, some youth workers still expressed concerns about how to structure activities to maximize their impact.
A common challenge that emerged was the need for structured methodologies to effectively integrate street art into educational and community-building contexts. A respondent from Portugal shared: "We have used street art to empower young people in marginalized communities, allowing them to express their struggles and dreams through public murals”.
One Czech respondent highlighted a key barrier, stating: "Many young people love street art, but there are very few organized initiatives that allow them to participate and learn in a structured way”.
As part of the STAR 2.0 project, a series of national surveys were conducted in Italy, Ukraine, Portugal, the Czech Republic, and the Netherlands. These surveys aimed to assess youth workers’ perspectives on street art, their competencies in using it for community engagement, and the key areas where further training is needed. The findings serve as a preliminary step in shaping the STAR 2.0 online training course, ensuring that the curriculum is aligned with the real needs and challenges faced by youth workers in different countries.
A total of 119 youth workers participated in the surveys, providing diverse insights based on their experiences and local contexts. The breakdown of respondents by country is as follows:
- Italy: 32 respondents
- Ukraine: 30 respondents
- Portugal: 21 respondents
- Czech Republic: 21 respondents
- Netherlands: 15 respondents
Below, we explore the key findings from each country, highlighting both common trends and unique national perspectives.
Key FindingsExperience with Street Art
The level of experience with street art varies significantly across countries. In Italy, there was an even split between those with little to no experience and those who had moderate to extensive exposure to street art. In Ukraine, over half of respondents reported minimal contact with street art, although many recognized its presence through musical performances and street art within some neighborhoods, building walls, and cultural centers. Portugal had a higher level of familiarity, with many participants actively involved in urban art projects, especially in Lisbon’s Olaias area. The Czech Republic presented a similar scenario to Italy, where half of the respondents had minimal exposure and primarily appreciated murals and graffiti as spectators rather than active participants. In the Netherlands, respondents reported a mix of direct involvement in community projects and passive observation of street art in urban settings. While some had hands-on experience, others recognized its potential but lacked structured methodologies to integrate it effectively into youth work.
Despite these differences, the general consensus across all five countries is that street art has great potential as a tool for social change and community engagement, making it a relevant focus for training youth workers. As one respondent from Ukraine noted: “Street art is not just about painting on walls; it is about bringing people together, making them reflect, and giving a voice to those who are often unheard”.
The level of experience with street art varies significantly across countries. In Italy, there was an even split between those with little to no experience and those who had moderate to extensive exposure to street art. In Ukraine, over half of respondents reported minimal contact with street art, although many recognized its presence through musical performances and street art within some neighborhoods, building walls, and cultural centers. Portugal had a higher level of familiarity, with many participants actively involved in urban art projects, especially in Lisbon’s Olaias area. The Czech Republic presented a similar scenario to Italy, where half of the respondents had minimal exposure and primarily appreciated murals and graffiti as spectators rather than active participants. In the Netherlands, respondents reported a mix of direct involvement in community projects and passive observation of street art in urban settings. While some had hands-on experience, others recognized its potential but lacked structured methodologies to integrate it effectively into youth work.
Despite these differences, the general consensus across all five countries is that street art has great potential as a tool for social change and community engagement, making it a relevant focus for training youth workers. As one respondent from Ukraine noted: “Street art is not just about painting on walls; it is about bringing people together, making them reflect, and giving a voice to those who are often unheard”.
Street Art as a Tool for Social Inclusion
Confidence in using street art to promote critical thinking and social dialogue was mixed. In both Italy and Ukraine, only half of the respondents felt confident incorporating street art into discussions on social issues, while the other half were uncertain. Portugal stood out with stronger results, where most participants felt highly confident, rating their ability between 8 and 10 out of 10. In contrast, the Czech Republic showed divided responses, with some youth workers feeling prepared while others remained hesitant about applying street art for social engagement. In the Netherlands, responses aligned more closely with Portugal, with many participants rating their confidence at 8 or higher. However, some youth workers still expressed concerns about how to structure activities to maximize their impact.A common challenge that emerged was the need for structured methodologies to effectively integrate street art into educational and community-building contexts. A respondent from Portugal shared: "We have used street art to empower young people in marginalized communities, allowing them to express their struggles and dreams through public murals”.
Engaging Young People Through Street Art
The ability to use street art to connect with youth and foster creativity varied widely. In Italy, more than half of the respondents felt unprepared to use street art for youth engagement. A similar trend was observed in Ukraine, where two-thirds rated their ability as weak or neutral. Portugal, on the other hand, reported positive results, with many respondents citing direct experiences in using murals and music to engage young people. In the Czech Republic, uncertainty prevailed, with very few practical examples of street art being used as a tool for youth inclusion, on the other hand, in the Netherlands over half of the respondents emphasized the effectiveness of workshops and collaborative mural projects in fostering youth participation.One Czech respondent highlighted a key barrier, stating: "Many young people love street art, but there are very few organized initiatives that allow them to participate and learn in a structured way”.
Collaboration with Street Artists
Working with street artists presented a key challenge across countries. In Italy, while some respondents had prior experience, they often struggled to balance project objectives with artistic freedom. A key insight from an Italian respondent was, "Street artists bring creativity and energy, but there needs to be clear communication about project goals so that artistic expression and community objectives align”. Ukraine reported a mix of positive and challenging experiences, with difficulties in defining project rules and fostering community participation. Portugal showed more structured collaborations, particularly in community-driven initiatives. The Czech Republic had the least engagement, with most respondents lacking any substantial experience in working with street artists. In the Netherlands, youth workers reported mixed experiences in collaborating with street artists. Some had strong partnerships, particularly in museum-led projects and community-based programs, while others struggled with balancing creative expression and social objectives.Digital Literacy and Online Engagement
The surveys also revealed significant gaps in digital competencies, particularly in using online platforms for art-related projects and youth engagement. In Italy, 60% of respondents expressed low confidence in using digital tools for street art initiatives. Similarly, in Ukraine, many youth workers lacked experience but showed a strong willingness to learn. Portugal recorded the lowest scores in digital competencies, with most respondents having no experience in managing online art platforms. In the Czech Republic, responses were more varied, with some familiarity with Google Sites and Mozilla Hubs, while others had no exposure to digital art-related tools. Lastly, Dutch respondents showed moderate digital engagement, with some already using online platforms for youth work. However, many participants highlighted the need for additional training in digital tools to better integrate street art into their practice.On this matter, one respondent from Ukraine highlighted this need: “ We see the power of digital art and online platforms, but without proper training, many youth workers feel overwhelmed by the technology.”