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Course closed:

History of Art is no longer accepting new applications.

A doctoral degree at the Department of History of Art offers the opportunity for independent research under the supervision of an expert departmental member of staff.  The Department of History of Art has the expertise and welcomes candidates in many areas including medieval, Renaissance and early modern, eighteenth and nineteenth century, modern and contemporary art, and historiography and methodology.

As well as the research and skills training programme offered by the Faculty of Architecture and History of Art, candidates have the opportunity to attend suitable courses in associated skills, such as modern languages, palaeography, the use of bibliographic and other databases, and computer skills.

The examination constitutes the oral examination of a thesis not exceeding 80,000 words for the PhD on a subject approved by the Degree Committee for the Faculty.

Learning Outcomes

By the end of the programme, candidates will have become leading academic authorities in their chosen field.  They will have acquired excellent skills, experience and knowledge suited to undertaking post-doctoral work (research and/or teaching) or for moving into another related profession outside the academy.

To continue to read for the PhD following the MPhil in History of Art & Architecture, students must achieve an overall total score of at least 70%.  Continuation is also subject to the approval of the proposed research proposal, and the availability and willingness of an appropriate supervisor.

The Postgraduate Virtual Open Day usually takes place at the end of October. It’s a great opportunity to ask questions to admissions staff and academics, explore the Colleges virtually, and to find out more about courses, the application process and funding opportunities. Visit the  Postgraduate Open Day  page for more details.

See further the  Postgraduate Admissions Events  pages for other events relating to Postgraduate study, including study fairs, visits and international events.

Key Information

3-4 years full-time, 4-7 years part-time, study mode : research, doctor of philosophy, department of history of art, course - related enquiries, application - related enquiries, course on department website, dates and deadlines:, michaelmas 2024 (closed).

Some courses can close early. See the Deadlines page for guidance on when to apply.

Funding Deadlines

These deadlines apply to applications for courses starting in Michaelmas 2024, Lent 2025 and Easter 2025.

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The Secretary The Department of History of Art 1-5 Scroope Terrace Cambridge CB2 1PX Tel: 01223 332975 Fax: 01223 332960

Contact: [email protected] [email protected]

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PhD history of art : Courtauld or Cambridge?

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History of Art

The  Department  is housed in the Faculty of Architecture and History of Art, sharing the building with students reading Architecture as a professional course. This is a row of converted Georgian houses, with a modern extension, just two minutes’ walk from the Fitzwilliam Museum , and fifteen minutes’ walk from St John’s.

The Director of Studies in History of Art is the architectural historian,  Dr Frank Salmon .

Cambridge provides a rich legacy of architectural masterpieces from every stage of its history, and the University’s two art galleries, the Fitzwilliam Museum and Kettle’s Yard, house art collections of international importance. Many of the colleges possess fine paintings and manuscripts as well as rare books. The Department makes full use of these excellent resources in its teaching curriculum.

• Entry Details

Further Information

The History of Art Tripos is intended for those who wish to study the history, criticism and theory of art and architecture (primarily in Western Europe) from the Middle Ages to the Twenty First Century. Strong emphasis is placed on first-hand encounters with works of art and architecture in Cambridge, notably at the Fitzwilliam Museum, especially in the first year.

The Part I course focuses on the Making and Meaning of Art and on works of art and architecture in Cambridge , including some non-western art.

In Part IIa, taken in the second year, the course offers opportunities for more advanced work in two chosen Special Subjects - which may be devoted to an artist, a period or a theme - and in the related history of ideas. 

In the final year, in Part IIb, two further Special Subject courses are taken, as well as a course on the Display of Art (on collecting, museums, conservation and heritage management). In both Parts of the Tripos, students write independently researched dissertations to give them the chance to develop their individual research skills and enthusiasms.

The Department balances its small size and personal approach with an ambitious programme of visiting lectures by well-known scholars in the field.

Image: A portrait by Maggie Hambling in the College’s collection

Typical Minimum Entry Requirements

A Level:  A*AA (with A* in an essay-based subject)

International Baccalaureate:  42 points, with 776 at Higher Level (including 7 in an essay-based subjects)

Essential Subjects:  A Level/IB in an essay-based subject

Desirable Subjects:  None

Submitted Work: None

Admissions Assessment:  None

What we look for in prospective students

You need, above all, to be visually responsive. Colour sense and a good memory for visual images are essential, but these improve rapidly with practice. Creative artistic ability is not in itself required, although direct experience of techniques such as drawing, painting, print-making or sculpture is extremely valuable. If you have not studied a foreign language at school, you can pick up a good reading knowledge by taking courses at the Language Centre while in Cambridge. You will not be expected to have a detailed knowledge of the History of Art, but you will need to show your motivation, curiosity and potential to excel in the subject.

Admissions Interviews

Further information regarding interview dates and arrangements can be found  here .

Director of Studies Dr Frank Salmon

Tutor Dr Victoria Harvey

Subject Fellows Dr Frank Salmon Professor Deborah Howard 

Our students go on to a wide range of exciting careers after graduation. These include work in museums and art galleries, heritage and tourism, media and journalism, writing and publishing, the creative arts and drama, teaching at various levels. Others opt for post-graduate study and further academic research.

Further information about the Department is available from Lucy Hartley, Department of History of Art, 1 Scroope Terrace, Cambridge , CB2 1PX, by telephone on 01223 332975, on the  Department website  or by  email.

St John's College Library: Art & Architecture Subject Guide

The Faculty of Architecture and History of Art

History of Art: Undergraduate Admissions

Useful Links

The Faculty of Architecture and History of Art: Library

St John's College: Grants, Awards, Prizes and Scholarships 

St John's College: Exchange Programmes

Return to 'Subjects'

History of Art

The material taught in the History of Art Tripos will appeal to those with a particular interest in the history and criticism of art and architecture in Western Europe. Cambridge is an ideal place in which to study History of Art, since it has a rich legacy of architectural masterpieces. Trinity, in common with other colleges, possesses many fine paintings, illuminated manuscripts, and rare books. The Fitzwilliam Museum, the whose staff contribute to teaching in the Department of History of Art, has a collection of international importance.

The Tripos consists of a one-year Part I and a Part II which may be studied over one or two years; the one-year option is designed for those who have already taken a two-year Part I in another subject. Emphasis throughout the course is placed on first-hand contact with works of art and architecture. Travel is therefore encouraged and the College offers grants for this purpose.

Course Details

A good memory for visual images is needed for success in the subject, but this improves rapidly with practice. Creative artistic ability is not in itself required, although direct experience of techniques such as drawing, painting, print-making, and sculpture is valuable. A reading knowledge of at least one foreign language – especially Italian, German, or French – is essential, and Latin is important for those studying medieval or Renaissance topics.

There are many choices of A-levels that are suitable for History of Art, although Italian, German, Greek, Latin, French, History, or English would all provide a useful preparation for the course. An A-level in History of Art is not necessary: what the interviewers will be looking for in candidates is not specialist knowledge but intellectual potential, visual sensitivity, and evidence of enthusiasm for the subject.

History of Art is one of the smallest subjects at Cambridge and Trinity would expect to accept about two or three applicants each year. The College’s Director of Studies is Professor Alyce Mahon, the Department’s specialist in Modern and Contemporary art. Applicants will normally have a subject-based interview with Professor Mahon and another member of staff.  The typical conditional offer is A*AA.

More information about the Tripos is given in the course brochure; if you would like a copy, please write to the Secretary, Department of History of Art, 1 Scroope Terrace, Cambridge CB2 1PX. You can also visit the departmental website.

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MSt in History of Art and Visual Culture

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This course is not open for online applications. If you would like to enquire about this course please do so using the 'Ask a question' button.

Our Master of Studies in History of Art and Visual Culture allows you to explore objects, theories and approaches thematically. You will be introduced to a wide range of visual media from Medieval to Contemporary.

By the end of this two-year course, you will have gained many transferable skills, including research, decision making, presenting, academic writing and the ability to communicate your topic to different audiences.

An integral part of your studies will be visiting college collections, libraries and museums in Cambridge when you attend the three residential modules in the city, where you will have the opportunity to hear from curators and experience objects up close.

Your first year of study is split into six taught modules, paired by theme with a focus on knowledge and practice, whilst the second year of study allows you to research and write your dissertation.

Applications for this course are now open, and will close on 2nd April 2024. You can apply using the Apply Now button.

Virtual Open Events

To watch the recording of the MSt History of Art and Visual Culture Information Session recording from our Master's Open Week 2023,  click here.

Programme Structure 

The MSt takes place over two years, running typically from October of the first year to September of the second. The taught elements of the syllabus, Year 1, are offered in three intensive study blocks, each of which is examined by an assessed essay to be submitted at the end of each term.

Year 1: During the first year, all students will be required to undertake six core modules, 2 per term, paired in numerical order:

• Modules 1, 3 & 5: Thematic approaches to understanding art

A number of themes will allow students to explore the history of art and visual culture, including theoretical approaches and useful concepts. Themes may include, amongst others: class and social status; race and gender; local / global; the relationship of medium to style; the historical valuation of fine art versus decorative arts; art and ecology. Students will be introduced to a range of art and approaches to the history of art and visual culture from the earliest examples to the present day.

The themes for 2024-25 are:

Term I: Thinking across Media

The idea of intermediality - or thinking across media - is currently the focus of much scholarly attention. Term 1 (modules 1 and 2) will introduce you to a variety of intermedial approaches to Art History, focusing mainly on the medieval and early modern periods in the West (c.1100-c.1700), whilst raising theoretical and historiographical issues relevant to the study of art up until today across a range of geographical locations. It will encourage you to think about the interactions of different media at the time of works’ making, the different visual influences on artists and how to question traditional hierarchies of medium that privilege ‘fine’ over ‘decorative’ arts.

Term 2: Art and Environment

With global ecosystems facing irreversible crisis, the need to envisage new approaches to the relationship between nature and culture is taking on increasing urgency. Term 2 (modules 3 and 4) asks how the history of art can be used to explore how societies have visualised and shaped both built and natural environments, and how changing environments have in turn impacted art’s history. Alongside this, we will ask how focusing on questions of environments and ecology affects the methods and sources of art history and visual culture. As such, this module explores new perspectives on fundamental topics, whether landscape painting, twentieth-century Land Art, or contemporary photography.

Term 3: Visual Cultures of Activism

Term 3 (modules 5 and 6) will explore the ways that artists and curators have redefined our conceptions of art and its role in society, focusing on the seismic shifts in the art world of the twentieth century to show how art became increasingly self-reflexive and activist. The global surrealist movement will be examined via a discussion of the works of artists from Europe, Africa and the Americas. We also discuss decoloniality through an analysis of the work of Diego Rivera and Violeta Parra. Finally, we reflect on the transversality of art and activism in the twenty-first century, focusing on feminist textile art. 

In 2024-25 the dates of the teaching blocks are:

Term 1: 8-11 October 2024

Term 2: 11-14 February 2025

Term 3: 29 April-2 May 2025

• Modules 2, 4 & 6: Research, Sources and Methods

These modules explore the different ways of researching the history of art and visual culture in practice, for example: close visual analysis and object handling; the digital humanities in visual culture; archival study in the arts; the intersections of literature, visual sources and material culture; museum display and interpretation within a heritage context.

Year 2:  Dissertation research (90 credits).

Three Day Schools taking place on 4 October 2025, 17 January 2026, 11 April 2026.

Aims of the Programme

By the end of the course students should have demonstrated:

• A deep and systematic understanding of history of art and visual culture and their interrelationships with other disciplines;
• An understanding of current theoretical and methodological approaches and how they affect the way that knowledge is interpreted;
• Conceptual understanding in order to evaluate critically current research in the discipline and to critique methodologies, where appropriate proposing new hypotheses;
• The extension and development of their visual analytical, evaluative and critical capacities;
• Originality in the application of their knowledge, having developed the ability to form independent judgements based on their close visual analysis and object study, reading, research and writing;
• A comprehensive understanding of techniques, knowledge and analysis applicable to their own research or advanced scholarship (in this case the dissertation).

Skills and other attributes

By the end of the course, the students should have acquired or consolidated:

• The academic, technical and ancillary skills necessary to participate in critical debates within the field of history of art and visual culture, dealing with complex issues both systematically and creatively and making sound judgments in the absence of complete data;
• Self-direction and originality in tackling and solving problems, and the ability to act autonomously in planning and implementing tasks at a professional or equivalent level;
• Transferable skills, including the ability to take responsibility for their own learning, decision-making in unpredictable situations, making oral and written presentations to both specialist and non-specialist audiences, planning and producing written assignments, working independently, and, where they have chosen to do so, using different types of technology;
• The ability to formulate a research topic, create a research design, and communicate their ideas and research conclusions in a substantial piece of postgraduate level research.

Student Support:

All students are members of a College and the Institute of Continuing Education. As a member of the University of Cambridge students have access to the face-to-face and online academic and pastoral support functions of the Collegiate University. Students have access to additional learning support via the Institute of Continuing Education, along with comprehensive details of the programme, contact details and academic and general advice. The course VLE holds generic and subject specific learning resources.

Expected academic standard

Applicants for this course will normally have achieved a UK 2.1 honours degree or overseas equivalent. 

Applicants would have usually studied at undergraduate level in a relevant discipline in the arts, humanities or social sciences.

If your degree is not from the UK, please check  International Qualifications  to find the equivalent in your country.

We are able to consider 'non-standard' applicants who do not meet the standard academic criterion. In such cases, you will need to produce evidence of relevant and equivalent experience, and your suitability for the course.

The structure of the programme allows international students to attend on a Short-term Study Visa, and those in full-time employment, whether in the UK or abroad, to work and study at the same time.

Language requirement

If English isn’t your first language, you will be required to submit evidence that you meet the University’s English language requirement before you are admitted.

Please follow this link for full details of the University Language Requirement:

https://www.graduate.study.cam.ac.uk/international/competence-english

Please note that there are no exceptions to this requirement and, if you are offered a place on the course, it will be subject to you meeting this requirement.

Language requirements for this course are as per the table below:

• IELTS Academic: Overall band score of 7.5 (with a minimum of 7.0 in each individual component)
• TOEFL Internet: Overall score of 110 (a minimum of 25 in each individual component)
• C1 Advanced *: Grade  A or B (with at least 193 in each individual element), plus a Language Centre assessment.
• C2 Proficiency †: Grade A, B, or C (with at least 200, with no element lower than 185)

*Previously known as the Cambridge Certificate of Advanced English or Cambridge English: Advanced (CAE)

†Previously known as the Cambridge Certificate of Proficiency in English or Cambridge English: Proficiency (CPE)

Teaching and learning

The MSt in History of Art and Visual Culture is structured around three residential modules that students must attend. 

A Virtual Learning Environment (VLE) offers learning support to students while they are on the programme, including learning resources, to build a virtual community of practice. Students are expected to have sufficient IT skills to engage with the VLE and all assignments are uploaded to the VLE for assessment.

In order to proceed to Year 2, students must complete the three assessed essay assignments satisfactorily, each between 4,000-5,000 words. The Year 1 essays constitute 50% of the overall award mark, and the dissertation constitutes 50% of the overall award mark. Students must attain an average of 60% overall across the three essay assignments.

Students achieving a minimum of the pass mark for Year 1 but not completing the Year 2 requirements may be awarded a Postgraduate Certificate in History of Art and Visual Culture.

The requirement for the award of the MSt degree is satisfactory completion of a 12,000-15,000 word dissertation, constituting 50% of the overall mark and which is read by two examiners, who report independently. The dissertation must reach the pass mark of 60%. The overall pass mark for the award of the MSt degree is 60%. The examiners are required to assure themselves that the dissertation is clearly written, that it takes account of previously published work on the subject, and that it represents a contribution to scholarship.

To complete Year 1 successfully students must pass at least two of the three assessed essays and reach an average pass mark of 60% across the three. Students who achieve this can progress to Year 2, where they research and write a dissertation on a topic of their choice, subject to the approval of the Degree Committee of the Faculty of Architecture and History of Art. Dissertation work is individually supervised and is assessed following the Faculty of Architecture and History of Art’s common examinations handbook (except where a case is made for alignment with common MSt protocols). The dissertation must reach the pass mark of 60%. 

Teaching Methods 

The learning outcomes of the programme are achieved through:.

• Personal study of appropriate material guided by reading lists and other resources;
• Residential study blocks/modules including lectures, seminars, classes at which students express their own ideas and present accounts of their work;
• Full and appropriate use of the Institute’s virtual learning environment (VLE);
• One-to-one supervisions (usually five in total) with a designated expert supervisor to include detailed feedback on students’ work and progress.

Assessment Methods

In Year 1 the taught elements of the course are examined through three compulsory essay assignments, one per term of between 4,000-5,000 words each, totalling a maximum of between 12,000 and 15,000 words. All essays will be independently marked by two assessors. Each written assignment in Year 1 will be submitted at the end of term (Michaelmas, Lent, Easter).

In Year 2 of the course examination will be by a supervised dissertation (of between 12,000 and 15,000 words). A viva voce examination may be required by the examiners and, subject to the Faculty of Architecture and History of Art’s common examinations handbook, will be required in the case of a borderline fail. Dissertations are due in term 3 of Year 2.

Students will receive a range of formative assessments during the course.

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• Decisions, Decisions

Cambridge PhD in History instead of art history

• art history
• conditional offer

By MarinaLazarus February 23, 2017 in Decisions, Decisions

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• MarinaLazarus

I'm asking advice as I received a conditional offer from Cambridge for a PhD in History. The problem is that I've  a MSc in Architectural History and Theory and a BA in History of Art and my dream was doing a PhD in one of these subjects- However, my research project involves both architectural history and history and my MSc supervisor suggested me to apply for a PhD in History at Cambridge as there is a potential supervisor which has already worked on my research topic. With my surprise, I have been accepted but now I don't know what to do. Cambridge was my plan B (I know it sounds strange) and I haven't heard back from my first choice (PhD in History of Art at Toronto). In addition, I don't have news about funding from Cambridge. I'm not worried about the supervisor who is expert in material culture (so both art and architecture) but what I fear the most is that I wouldn't fit in the department and that I would regret not being in the Art History one. 

Is it very stupid to refuse an offer from Cambridge (obviously I will wait for the other notifications to come in)?

My supervisor told me that a PhD in History (and from Cambridge) is more prestigious that a PhD in History of Art, Is that true?

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Go. To. Cambridge.

I did, and had the time of my life. I'm sure if you make that choice you won't regret it!

oh, also, as far as concern about fitting in- you will have colleagues in your department, but you will also become a member of a Cambridge college, which is where you will live, eat, and play. Opportunities for sport and leisure, socializing, and finding a group of like-minded, inspiring peers will abound! 

Cambridge was one of my Plan B choices too and I also worried about fitting in (class wise), although I wouldn't have had a good supervisor with similar research interests. I didn't end up applying, because I got my first choice acceptance very early so I didn't need to apply anywhere else. Cambridge is world class institution though and a PhD there will take you far.

Funding is a major concern, because fees in the UK are insanely high (especially if you're international). Also Cambridge is one of the more...'socially progressive' campuses here, which might not be for everyone.

My husband is British did his undergrad in history at Cambridge (and his dad got a Ph.D. when my husband was young), and he said that funding in the UK was pretty non-existent, so that would definitely be a concern.  Also, the degree as far as I can is pretty much just your thesis, which makes it much shorter than a US degree (which you may see as an advantage or a disadvantage) and much more dependent on the advisor being a good fit than the departure.  If you like the advisor and can swing the finances, I wouldn't worry about what department it is in.  I am in almost the opposite boat.  I have a strong theology background but am mostly interested in history.  I got into none of my history programs last year but into a really good department of religion for historical studies.  I brought up my concern with my POI who teaches in both departments but takes Ph.D. students in the department of religion, and he said that at the Ph.D. level the topic of your thesis is more important than the department you get it in.  Since he is an excellent historian and it's a good fit, I am going there.  I figure at the end of the day, the advisor being a good fit and being supportive of me and my research is more important than the department.  Also, it might be an advantage to be able to teach both.  I am guessing that when it comes to a job search a history degree might be more flexible than a more niche degree, but I don't know much about your subfield.

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Your chance of acceptance, your chancing factors, extracurriculars, which colleges are best for studying art history.

Hey folks, I'm very interested in pursuing Art History at college. Any recommendations for colleges that have great Art History programs? I'm interested in schools with a wide range of periods/cultures of study.

Sure, there are quite a few schools known for their strong Art History programs! Generally speaking, schools with a wider range of periods and cultures to study from tend to be larger institutions or those with a significant focus on humanities.

New York University (NYU) has an excellent program through the Institute of Fine Arts. It's in a great location too, given that New York City is a major hub for art and culture. You'll have easy access to a variety of museums and art exhibitions, like the Metropolitan Museum of Art and the Museum of Modern Art. These museums often have internship and work-study opportunities for students as well.

The University of Chicago also has a top-tier Art History Department. It offers a broad range of geographic and historical specialties and has a strong faculty line-up. They offer multiple opportunities for field-based learning and internships at various reputed Art institutions in Chicago.

Yale University's Art History program, housed in the Yale Centre for British Art and the Yale University Art Gallery, offers an extensive range of art history courses and has one of the largest faculties in the field.

Stanford University is another institution worth considering. Their program strongly encourages students to study abroad and offers many opportunities to conduct independent study or research.

Finally, Williams College - though smaller than the other schools mentioned - is recognized for the strength of its Art History program and its notable professors. It also benefits from having the Clark Art Institute in close proximity and offers a graduate program in the History of Art, which contributes to the academic richness of the undergraduate program.

While these are all excellent programs, there are many other quality Art History departments across the country and globally. It might help to identify the specific period or culture you're most interested in studying and looking up the faculty members and course offerings at various schools to see which aligns best with your interests. Don't forget to consider the location of the school and potential extracurricular opportunities such as museum internships or study abroad programs that might enhance your study of Art History.

About CollegeVine’s Expert FAQ

CollegeVine’s Q&A seeks to offer informed perspectives on commonly asked admissions questions. Every answer is refined and validated by our team of admissions experts to ensure it resonates with trusted knowledge in the field.

What does the future of hip-hop sound like? These Cambridge kids are creating it.

In the lower levels of the Cambridge Community Center, a handful of young musicians are singing and rapping, matching their voices to beats composed by fellow artists. A few are behind the wall of a professional recording studio, complete with a recording booth.

This is The Hip Hop Transformation, a year-round program that teaches people ages 12 to 24 about hip-hop, including its instruments, techniques and cultural history.

It also gives them the space and tools to make their own art, including the studio time, hardware and the software to run it.

The Hip Hop Transformation is an outlet for the boundless energy of youth. The nonprofit receives funding from a variety of supporters, including The Boston Foundation, and its leaders say their straightforward mission is Cambridge to the core.

People view it as a strange thing because they look at Cambridge as this really lucrative neighborhood, but there’s a lot of marginalized communities within Cambridge. David Bellow, co-chair of The Hip Hop Transformation

“People view it as a strange thing, because they look at Cambridge as this really lucrative neighborhood, but there’s a lot of marginalized communities within Cambridge,” said David Bellow, co-director of the program. “So we found a lot of need to support those young people and give them space and an opportunity to amplify their voice creatively.”

How the program works

The program is interdisciplinary; it’s more than rap. This mirrors the art of hip-hop itself, with its five elements: emceeing, breaking, DJing, graffiti and knowledge. Students of The Hip Hop Transformation are also encouraged to consider instrumental production, studio engineering, graphic design and video production.

“This is more than just music,” said Bellow, explaining the program’s philosophy. “It’s good to create art, but it’s also a business. It’s also a culture. It’s also something that has important meaning to a lot of people.”

Here, imparting that meaning is an act of community service. And it’s a service that program co - director Imam Firman leapt at when given the opportunity.

After beginning his career working with acts like New Edition and New Kids on the Block, Firman was contacted by the director of the Cambridge Community Center, who was recruiting hip-hop artists to mentor children in a new music program.

“I was like, 'Oh, anything for the community.’ It’s actually in my neighborhood in which I grew up,” said Firman. “It’s super fulfilling because it’s almost full circle for me. I started off as a teen, and now I’m teaching teens. A lot of artists my age or, a little bit younger or even older, like, if we had this program, you know, [the] sky would be the limit.”

Firman, who performs under the name Flash, takes cultural education seriously. It’s a foundational aspect of his work.

Gen Z learning old school

Like many other cultures, hip-hop is constantly changing — its own identity as a music seems to shift with each pull of a new decade, and the vocabulary of its sound expands with the introductions of new musical technologies.

But today’s young musicians, Firman argues, need to know how their art fits into the genre’s history. It’s a cultural imperative.

Consider this: the proliferation of mobile apps and free software means that the pupils in fresh cohorts are bringing a degree of technical proficiency to the table that may not have existed even five years ago.

But Firman said there’s much more that goes into the ethos and heart of creating hip-hop.

”It was shocking to me when kids were like, ‘Oh I’ve got a rap already,’ and they used AI,” says Firman. “I’m like, 'What? Nah, that don’t work.’ We’re learning that a lot of kids don’t really care about the history, but they’re indulged in the history without actually knowing it.”

It was shocking to me when kids were like, 'Oh, I’ve got a rap already,’ and they used A.I. I’m like, 'What? Nah, that don’t work.' Imam Firman, co-director of The Hip Hop Transformatioin

And while education is important, Firman and Bellow keep it authentic — it goes without saying how painfully corny some hip-hop programs can be.

“We’re not trying to make them rap about their homework or anything,” Bellow said.

The dimensions of music expressed in the program have expanded: for example, several kids sing in a contemporary R&B idiom.

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New documentary 'ol' dirty bastard: a tale of two dirtys' looks at the man behind the moniker, local musicians and djs shine on boston’s 'dear summer: volume 2' mixtape, how hip-hop and fashion came to cross paths.

Like Justice Brooks and Navaeah King, two older students who recently collaborated on a song called “Focus.” And it’s more than a little meta — these high school seniors have peppered their lyrics full of references to older songs they’ve created over the years.

“One day we were just messing around at the park, and I was like, 'We should make a song that mentions every song that we’ve ever made together,'” said Navaeah, a fourth-year student whose family counts Firman as a family friend.

Justice, who comes from a musical family, started rapping and singing with The Hip Hop Transformation four years ago, at the same time as Navaeah.

It’s natural to think of Justice’s participation as another link in the chain, or the continuation of a musical legacy. But like many kids, his involvement in a program was because a parent thought it would be a good thing — an extension of an opportunity that lets the new generation do what the older one couldn’t.

“I thought when I was first starting out, ‘This is something my mom really wants me to do,'” Justice said. “I thought I really wouldn’t like it. But I was able to communicate to her ‘Oh, I don’t want it to be this huge thing.’ And she understood. So it’s not this heavy burden. It’s take it at your pace, your steps, but still pursue your goal. So it’s better than I thought.”

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