BA Archaeology, Anthropology and Art History with a Year Abroad

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Students work in unrivalled proximity to major, internationally-renowned works of art, by artists such as Francis Bacon, Edgar Degas, Jacob Epstein, Henry Moore and Pablo Picasso. Our students are able to study a wider range of artistic cultures, periods and forms than in any other art history department in the UK.

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"The course leaders are passionate and helpful, and have so much wonderful knowledge to give."

In their words

Jennifer Smith, BA History of Art with Museum and Gallery Studies

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Key facts

(2017 Guardian University Guide)

“My main reason for choosing to study at UEA was the unique programme which allows me to gain in-depth knowledge about art whilst leaving me the freedom to specialise in areas I am particularly interested in”

In their words

Julia Brennecke, BA Archaeology, Anthropology and Art History

This four-year version of our Archaeology, Anthropology and Art History degree course allows you to spend your third year at a top university in the United States, Canada, Australia or New Zealand.

Engage with a wide range of artefacts, from the prehistoric to the present day. Learn about visual and material cultures from around the world, and the ways in which archaeology, anthropology and art history can help us to understand them. Study the art and material culture of the Ancient Near-East, Ancient Egypt and pre-Columbian America as well as contemporary African, South-Asian, Pacific and South American societies. Explore the history of European and North American art too.

You will have many opportunities to study material first-hand, in the world-renowned Sainsbury Centre for Visual Arts (where you will be based), and on trips in the UK and overseas including excavations and projects which will enable you to develop practical skills of archaeological and anthropological fieldwork.

Overview

This four-year version of our innovative degree in Archaeology, Anthropology and Art History includes a year abroad at a university in Australia, New Zealand, Canada or the United States. This dynamic degree course examines the ways in which archaeology, anthropology and art history complement each other, especially in relation to visual and material cultures from around the world. It allows you to engage with a wide range of material, from the prehistoric through to the present day, and also equips you to study diverse cultures and societies.

Throughout your degree you will be encouraged to explore a wide range of cultures and to consider art as a cross-cultural practice. This course will familiarise you with the varied yet related ways in which human creativity has been approached by art historians, archaeologists and anthropologists. The degree programme incorporates study of the visual and material cultures of all continents. You are able to study the art and archaeology of the Ancient Near-East, Ancient Egypt, pre-Columbian America, Japan, as well as the art and material culture of contemporary African, South-Asian, Pacific, and South American societies.

The course also allows you to develop your practical skills of archaeological and anthropological fieldwork through participation in excavations and projects, in the UK and overseas (most recently, Cyprus, Cordoba and Peru).

You will have many opportunities to study works of art and artefacts first-hand; we are extremely fortunate to be housed in the world renowned Sainsbury Centre for Visual Arts based on the UEA campus. It houses a world-famous collection of artworks from Asia, Africa, the Pacific and the Americas, as well as Europe enabling you to learn about the processes of collecting which have led such objects to enter museums.

A great deal of the collection derives from the Pacific and the American Northwest Coast, so the opportunity to study in these parts of the world will complement and enhance your studies at UEA.

Course Structure

Your degree programme may contain compulsory or optional modules. Compulsory modules are designed to give you a solid grounding, optional modules allow you to tailor your degree.

The course modules section below lists the current modules by year and you can click on each module for further details. Each module lists its value (in credits) and its module code, a year of study is 120 credits. 

Assessment

Key skills, issues and ideas are introduced in lectures given by all members of faculty, including art historians, anthropologists and archaeologists. More specialist study is undertaken in small group seminars.

In most subject areas, you will be assessed at the end of each year on the basis of coursework and, in some cases, project and examination results. In your final year, you will write a dissertation on a topic of your choice and with the advice of tutors- there is no final examination. Your final degree result is determined by the marks you receive in years two and three.

Want to know more?

Come along to an Open Day and experience our unique campus for yourself.

Study Abroad

The Third Year of this course is spent at a university in either Australia, New Zealand, Canada or the United States. During this period students attend classes offered by the host institution. This provides the opportunity to engage with a new range of material and to experience new methods of teaching.

For more information on Study Abroad, please visit the Study Abroad website.

For Home/EU students opting for a Year Abroad the tuition fee is currently £1,350. The Year Abroad tuition fee will be subject to an annual increase. International Students are required to pay 25% of their annual tuition fee to UEA during their year Abroad and will be calculated based on the current tuition fee for that year.

Course Modules 2017/8

Students must study the following modules for 120 credits:

Name Code Credits

FORM AND FUNCTION

Most works of art, whether objects, buildings, or performances, are designed to serve a set of purposes. The interrelationship of their forms and their functions may be straightforward and practical, or complex and elusive. Drawing on a range of case studies presented by ART staff, this lecture module examines the connections between the uses, meanings and appearances of art. We will also consider how form and function may change over time, especially in the context of cross-cultural contact.

AMAA4004B

20

INTRODUCTION TO ANTHROPOLOGY

This module presents an overview of some key anthropological theories and their connections with history and archaeology through the works of classical and contemporary authors. It will examine various anthropological approaches to topics such as nature, human ecology, material culture, art, ritual, religion, globalization and socio-political complexity. This module is compulsory for V0L0 students.

AMAA4024B

20

INTRODUCTION TO ARCHAEOLOGY

This module is intended as a general introduction to archaeology. Seminars will examine the concepts behind the study of archaeology, the way that archaeologists gather and record data and the way in which they interpret those data. The first session is an introduction in which you will be given the tools you need to complete the module. The next eight sessions will focus on how archaeologists collect and analyse data, that is, the practice of archaeology. The following three sessions will introduce some of the major theoretical issues of the last 30 years that have challenged the way in which we interpret the archaeological record.

AMAA4023A

20

INTRODUCTION TO ART HISTORY

This module provides an introduction to the academic study of art history by looking at how writers primarily in the European tradition have sought to analyse, record and evaluate works of art. We will examine texts from ancient Rome to the 20th century, and consider how accounts of artists' lives, descriptions of art works and attempts to trace a historical development of art have all informed the way that art historians think about their subject. In this seminar, we will also consider the problems of relating texts to visual art and ask what themes are relevant to art historians today.

AMAA4001A

20

LEARNING ON SITE: THE SAINSBURY CENTRE FOR VISUAL ARTS

This module helps equip students with the skills and knowledge they need to study objects from around the world, from prehistory to the present day. Drawing on the collections of the Sainsbury Centre for Visual Arts and of the Castle Museum and Art Gallery, as well as the architecture of Norwich, we will explore the ways in which materials, contexts and histories affect how objects have been made and used. Through readings, discussions and object handling, we challenge assumptions and preconceptions about different kinds of art. In the process, students develop their abilities in library research, academic writing and referencing, and oral presentations.

AMAA4007A

20

PORTRAITURE AND IDENTITY

Introducing students to portraiture as it has been practiced by visual artists working in the European tradition between the Middle Ages and the present day, this module considers issues such as 'likeness'; the face; the self-portrait; portraiture as the embodiment of political, social and aesthetic power; the ways in which portraiture has variously reinforced and challenged concepts of class, race and gender; the photographic portrait, and the role of portraiture in contemporary art and culture. We will analyse the works of art alongside histories and concepts of the individual self, perhaps the supreme artefact of all.

AMAA4025B

20

Students must study the following modules for 80 credits:

Name Code Credits

ARCHAEOLOGIES OF THE MEDITERRANEAN WORLD

Using case studies from around the Mediterranean world, this module provides a grounding in the archaeology of the Mediterranean World. Case studies range from Palaeolithic Europe, to the Neolithic of the Aegean, Cyprus, The Near East, or North Africa, depending on the expertise of the module convener. Themes include early artistic endeavour (Palaeolithic Europe), the transition from hunting to farming (Crete, the Aegean, Cyprus the Near East), the emergence of urban societies (Egypt, the Near East), climate and society (the Mediterranean).

AMAA5098B

20

ART IN THE CONTEMPORARY WORLD

This module addresses contemporary issues in the production and display of art. It explores the status of contemporary art in relation to globalisation but also examines the problems confronting critics, curators and scholars today when they engage with the art of different regions and of all periods, from prehistory to the present.

AMAA5090B

20

MATERIAL WORLDS

Recent research in archaeology and anthropology has begun to reframe questions posed by the study of material culture and art. This module introduces some contemporary archaeological and anthropological perspectives on the study of material culture. Case studies are drawn from around the world.

AMAA5009A

20

THE LIVES OF OBJECTS

The main purpose of this module is to develop your critical skills as they pertain to thinking, reading, writing and looking. To deliver this, the module falls into two main sections. The first focuses on one particular methodology - object biographies - used in archaeology, anthropology, museum studies and art history. We shall examine this methodology in detail, breaking it down into its component sections. We shall then consider its strengths and its weaknesses; that is, we will subject it to a thorough critical evaluation. Then, in the second half of the module we shall focus more broadly on what critical thinking is, both in general and within each of the four disciplines taught in the School of World Art Studies. Building on this, the module ends by focusing on how you can apply critical thinking to your own thinking, reading, writing and looking. The module is taught through a combination of two weekly lectures and one discussion seminar. The lectures offer an introduction to the relevant topic, and end with a question for us to discuss/debate in the final 10 minutes of the lecture period. The discussion seminars will consider key issues in the previous week's lectures and the weekly class readings which accompany them.

AMAA5089A

20

Students will select 20 credits from the following modules:

Name Code Credits

ACTION / ABSTRACTION: ART AFTER 1945

This module explores the rich history of art made after 1945, with a particular emphasis upon the problem of the relationship between the idea of art's autonomy and claims for its capacity to engage directly with social and political conditions. The course provides an introduction to key tendencies in art and a wide variety of artistic media made since 1945, with a (non-exclusive) focus upon Europe and North America.

AMAA5101A

20

CONTEMPORARY GALLERY AND MUSEUM STUDIES

This module examines how contemporary artists have explored the way in which contemporary galleries and museums function. Since the 1960s artists have adopted the museum as both subject and medium in their artworks. These seminars will examine how such projects impact on our idea of what galleries and museums are, how they operate, and what role they have in public life today. Throughout, key ideas regarding aesthetics, politics, memory, and audience participation will be approached by way of specific artworks and exhibitions. These sessions will be supplemented by workshops exploring art criticism, as well as a study trip to London.

AMAA5102A

20

INDIGENOUS ARTS AND INDIGENOUS PEOPLES

This module begins by analysing what is meant by Indigenous arts and peoples. In particular, we shall consider the link between the anthropology of art and Indigenous identity. The module continues by examining issues related to the interpretation of indigenous arts in wide-ranging geographic and cultural contexts from North America, to India and Australia. It then questions Indigenous peoples' engagement with notions of ethnicity and heritage, as well as the formation of an 'Indigenous media' through film-making. The module aims to foster an inter-disciplinary approach.

AMAA5105A

20

Students will select 20 credits from the following modules:

Name Code Credits

LOOKING AT PICTURES: PHOTOGRAPHY AND VISUAL CULTURE IN THE USA

This module aims to introduce students to strategies and techniques for analysing photographs and, more specifically, uses the visual record to study and illuminate the history of the USA. Viewed here as sites of historical evidence, photographic portraits, family albums, anthropological illustrations, lynching postcards, advertisements, food packaging, fashion photos are just some of the pictures that will be "read" and evaluated. Students will explore how visual texts can contribute to an understanding of nationhood, class, race, sexuality and identity in the USA, with an emphasis on the nineteenth century. Opening sessions will focus on ways of "reading" visual texts. [No previous experience of working with images is necessary]. Most of the semester will be devoted to analysing how photographic images both reflect and contribute to constructions of American identities and culture.

AMAS5024B

20

RENAISSANCE RECONSIDERED

Fourteenth and fifteenth-century Italy was shaped by the growth of urban centres and the development of new political, social, and sacred institutions. New patrons and uses for artworks prompted a wealth of artistic activity that responded to and also forged contemporary values, beliefs and identities. Bankers, merchants, mercenaries, and religious institutions exploited the power of art and architecture to promote their professional interests, ambitions, and families. Focusing on spaces (palaces, churches, city squares) and bodies (princely, female, sacred, dead). Reconsidering the Renaissance explores evolving forms and functions of painting, sculpture and architecture made by a range of artists. We will also consider exchanges and cultural links between the centres on the Italian peninsula and an expanding image of the world.

AMAA5097B

20

THE ANTHROPOLOGY OF ANDEAN ART AND MUSIC

This module is an anthropological approach to the arts and music of Amazonia and Andean Indigenous peoples. The subjects will be discussed through key Amerindian themes with a special focus on cosmology, shamanism, ritual, animal symbolism, and cultural identity. In many Amerindian societies, ritual itself is a major artwork combining music, dance, body art and artefacts into an integrated oeuvre. We will read anthropological texts and watch ethnographic films to analyse the relationships between ritual and music and its socio-cosmological meanings. Documentary film will also be covered as an important and innovative art among Native South Americans, with a special focus on the Kuikuro Indians of Southeastern Amazonia.

AMAA5106B

20

Students must study the following modules for 120 credits:

Name Code Credits

YEAR ABROAD

A study year abroad at an approved university

AMAA5004Y

120

Students must study the following modules for 30 credits:

Name Code Credits

DISSERTATION

ART students on this module undertake a research project on a topic related to their specialised interests, in consultation with an appropriate member of ART Faculty, leading to a 9,000 word dissertation.

AMAA6112B

30

Students will select 30 credits from the following modules:

Name Code Credits

PUBLIC ART, PERFORMANCE AND MEMORY

Public art and performances are often staged to commemorate historical events. Monuments and commemorations are meant to make us remember the First World War, the Holocaust, the Slave Trade and Colonialism. This module examines why and how nations and communities commemorate the past and the discussions that has generated about memory, memorials and commemorative art. Central to the module is the question how memorial art makes us remember? And, indeed, whether there are alternative ways of remembering in painting, performance or popular music? The module will consider case studies from across the world.

AMAA6135A

30

THE GOTHIC EYE

The way in which we encounter medieval artworks today is radically different from the time of their creation: an altarpiece is dismembered and hung on a gallery wall, an ivory comb is enclosed within a display case, a manuscript stored in a museum. Even when artworks survive in their original locations, the function and appearance of these buildings has often changed significantly. What affects the ways in which we see these works now, and how were they seen when they were first created hundreds of years ago? This course explores different methods of reconstructing the changing appearance of medieval art and the changing experiences of viewing that art. We will examine the medieval understanding of the physiology of sight, the connection between sight and memory, and the relationship between corporeal and spiritual vision. This is complemented by an analysis of the different methodological approaches used by art historians to reconstruct the experiences of past viewers, from Baxandall's 'period eye' to Kemp's 'implicit beholder'. The final seminars consider new forms of vision, examining the reproduction of medieval artworks through photography, film and digital technologies.

AMAA6134A

30

TURNER: ART, THE ARTIST AND THE ART WORLD IN BRITAIN, 1800-1850

This module will consider the range of artworks produced by Joseph Mallord William Turner, within the context of the world in which he worked. It has long been recognised that those artworks amount to one of the crowning achievements (Turner would probably have preferred 'the crowning achievement') in the history of British art. Some of his contemporaries would see Turner's work in similar terms, describing him as an 'Old Master' even within his own lifetime, in a process of apotheosis which Turner fuelled by buying back his own paintings and then loudly leaving them to the nation. For much of the period since his death in 1851, this has remained the dominant vision of Turner: an isolated and untouchable 'genius' whose works transcend history and full interpretation. Recently however, art historians have started to think again about Turner and the real character of his achievement, situating both within the emergent modern art world of early nineteenth-century Britain. . This module will introduce students to this body of scholarship through a close analysis of Turner's own works - paintings, drawings and prints; landscapes, seascapes and historical/mythological images - read alongside set texts (including both primary sources and recent secondary literature), and within their artistic and historical contexts. We will look closely at a wide range of Turner's output and consider its interpretation, not only by ourselves but also by contemporary commentators including John Ruskin.

AMAA6133A

30

Students will select 30 credits from the following modules:

Name Code Credits

ALTERNATIVE MODERNISMS

This module is about the role of modern art in the making of India's national identity. It addresses probing questions, notably 'When was Modernism in Indian Art?' Since the beginning of the 20th century, artists and other cultural producers in India, such as film-makers, educationalists and anthropologists, sought to dismantle the colonial concepts that once framed their histories and identities. The module explores how artists such as Nandalal Bose, Ramkinkar Baij and Rabindranath Tagore established cultural exchanges with diverse national and international communities in the early- to mid-twentieth century. It considers the many new artistic and cultural formations that emerged via the Bengal School and related movements, raising important questions concerning the meaning of the relationships between the local and the national, the future and the past, and the visual and the spatial. Including debates on issues as diverse as identity/difference, visual display, internationalism, cultural heritage, and the politics of representation, the module is of potential interests to students in HUM (notably ART) including those with a specific interest in art history, anthropology and museum studies.

AMAA6131A

30

MODERNISM AND GENDER: FRANCE AND GERMANY 1900-1939

This module addresses modernism in the first part of the twentieth century. It explores the work of male and female artists and also considers how gender structures representation and art practice. The module provides an opportunity to reconsider key works by Henri Matisse, Pablo Picasso, Paula Modersohn-Becker, Suzanne Valadon, Hannah Hoch and Claude Cahun, amongst others.

AMAA6128A

30

THE PREMODERN CARTOGRAPHIC IMAGINATION

Maps help us to conceive of abstract concepts in tangible visual form. Be it geographical notions of the globe and the heavens, or more complex outlines of the body, the mind, time, even history, a map helps to bound and give features to otherwise inexplicable space and knowledge. This course uses these cartographic ideas as a starting point for understanding the visual, intellectual, and imaginative cultures of premodern Europe and the Middle East. Introducing and interrogating visual and theoretical cartographic practices from across the Classical, Medieval, and Renaissance periods, each week of the course we will move chronologically to consider a different realm of this premodern world through its maps and diagrams: the earth and the stars, the city and the body, the past and the present, the other and the self. And in so doing, we can begin to pick through the subtle veneers of time and place in premodern maps to expose exciting and complex conceptions of the world at the time of their creation.

AMAA6121A

30

Students will select 30 credits from the following modules:

Name Code Credits

GALLERIES AND MUSEUMS PRACTICE

This module explores a variety of practical and conceptual considerations in Gallery and Museum Studies by focusing on specific aspects of these institutional structures: from building and housing collections, to curating shows, producing exhibition texts, and writing art criticism. We will make use of the extraordinary resource of the Sainsbury Centre for Visual Art, exploring its operational structure, permanent collection and new temporary exhibitions. We then develop our engagement with the practice of conceiving, designing and mounting exhibitions themselves, exploring both the conceptual demands of putting on a successful show as well as practical considerations in doing so: from meeting artists in the studio, to transporting works, to making funding applications. Finally we consider the role of education and interpretation in galleries and museums practice, thinking also about how texts of various sorts operate in exhibitions and collections displays, and about the practice of art criticism. Along the way we will also be hearing from members of the Sainsbury Centre staff, and the module involves a study trip to London.

AMAA6134B

30

MAKERS' MYTHS: THE PERSONA OF THE ARTIST AFTER 1945

The figure of the artist has for centuries been the object of celebration, curiosity and myth-making. Since World War II powerful narratives have developed around some of the most prominent artists: Francis Bacon's dark world of intensity, anxiety and sado-masochism; the blank stare of Andy Warhol's commercial indifference; Joseph Beuys's redemptive shamanism; Louise Bourgeois the child abused using her art to resolve inner conflicts; and Ai Weiwei the great political dissident of contemporary China. This module explores the construction of such "makers' myths" and asks: How is an artist's public persona constructed and what bearing does it have on the interpretation of specific artworks? What idea of art's social role do different personae imply? How do these roles relate to our idea of what art can or should contribute to the contemporary world?

AMAA6127B

30

Disclaimer

Whilst the University will make every effort to offer the modules listed, changes may sometimes be made arising from the annual monitoring, review and update of modules and regular (five-yearly) review of course programmes. Where this activity leads to significant (but not minor) changes to programmes and their constituent modules, there will normally be prior consultation of students and others. It is also possible that the University may not be able to offer a module for reasons outside of its control, such as the illness of a member of staff or sabbatical leave. Where this is the case, the University will endeavour to inform students.

Entry Requirements

  • A Level AAB
  • International Baccalaureate 33 points
  • Scottish Advanced Highers AAB
  • Irish Leaving Certificate AAAABB or 4 subjects at H1, 2 at H2
  • Access Course An ARTS/Humanities/Social Science pathway preferred. Pass with Distinction in 36 credits at Level 3 and Merit in 9 credits at Level 3
  • BTEC DDD
  • European Baccalaureate 80%

Entry Requirement

You are required to have Mathematics and English Language at a minimum of Grade C or Grade 4 or above at GCSE.

UEA recognises that some students take a mixture of International Baccalaureate IB or International Baccalaureate Career-related Programme IBCP study rather than the full diploma, taking Higher levels in addition to A levels and/or BTEC qualifications. At UEA we do consider a combination of qualifications for entry, provided a minimum of three qualifications are taken at a higher Level. In addition some degree programmes require specific subjects at a higher level.

Students for whom English is a Foreign language

We welcome applications from students from all academic backgrounds. We require evidence of proficiency in English (including writing, speaking, listening and reading):

  • IELTS: 6.5 overall (with no less than 6.0 in any component)

We also accept a number of other English language tests. Please click here to see our full list.

If you do not meet the University's entry requirements, our INTO Language Learning Centre offers a range of university preparation courses to help you develop the English skills necessary for successful undergraduate study.

Interviews

The majority of candidates will not be called for an interview and a decision will be made via UCAS Track. However, for some students an interview will be requested. You may be called for an interview to help the School of Study, and you, understand if the course is the right choice for you.  The interview will cover topics such as your current studies, reasons for choosing the course and your personal interests and extra-curricular activities.  Where an interview is required the Admissions Service will contact you directly to arrange a convenient time.

Gap Year

We welcome applications from students who have already taken or intend to take a gap year.  We believe that a year between school and university can be of substantial benefit. You are advised to indicate your reason for wishing to defer entry and to contact admissions@uea.ac.uk directly to discuss this further.

Intakes

The School's annual intake is in September of each year.

  • A Level AAB
  • International Baccalaureate 33 points overall. If no GCSE equivalent is held, offer will include Mathematics and English requirements.
  • Scottish Highers Only accepted in combination with Scottish Advanced Highers
  • Scottish Advanced Highers AAB. A combination of Advanced Highers and Highers may be acceptable
  • Access Course Distinction in 36 credits at Level 3 and Merit in 9 credits at Level 3. Humanities or Social Sciences pathway preferred. Other pathways are acceptable, please contact the University directly for further information.
  • BTEC DDD. BTEC Public Services is not accepted

Entry Requirement

UEA recognises that some students take a mixture of International Baccalaureate IB or International Baccalaureate Career-related Programme IBCP study rather than the full diploma, taking Higher levels in addition to A levels and/or BTEC qualifications. At UEA we do consider a combination of qualifications for entry, provided a minimum of three qualifications are taken at a higher Level. In addition some degree programmes require specific subjects at a higher level.

Students for whom English is a Foreign language

We welcome applications from students from all academic backgrounds. We require evidence of proficiency in English (including speaking, listening, reading and writing) at the following level:

  • IELTS: 6.5 overall (minimum 6.0 in any component)

We will also accept a number of other English language qualifications. Please click here for further information.

If you do not yet meet the English language requirements for this course, INTO UEA offer a variety of English language programmes which are designed to help you develop the English skills necessary for successful undergraduate study:

Gap Year

We welcome applications from students who have already taken or intend to take a gap year.

We also welcome applications for deferred entry, believing that a year between school and university can be of substantial benefit. You are advised to indicate your reason for wishing to defer entry and may wish to contact the appropriate Admissions Office directly to discuss this further.

Intakes

This course's annual intake is in September of each year.

Alternative Qualifications

We welcome a wide range of qualifications - for further information please email admissions@uea.ac.uk

GCSE Offer

GCSE Requirements:  GCSE English Language grade 4 and GCSE Mathematics grade 4 or GCSE English Language grade C and GCSE Mathematics grade C.

Fees and Funding

Undergraduate University Fees and Financial Support: Home and EU Students

Tuition Fees

Please see our webpage for further information on the current amount of tuition fees payable for Home and EU students and for details of the support available.

Scholarships and Bursaries

We are committed to ensuring that costs do not act as a barrier to those aspiring to come to a world leading university and have developed a funding package to reward those with excellent qualifications and assist those from lower income backgrounds. 

Home/EU - The University of East Anglia offers a range of Bursaries and Scholarships.  To check if you are eligible please visit the website.

______________________________________________________________________

Undergraduate University Fees and Financial Support: International Students

Tuition Fees

Please see our webpage for further information on the current amount of tuition fees payable for International Students.

Scholarships

We offer a range of Scholarships for International Students – please see our website for further information.

How to Apply

Applications need to be made via the Universities Colleges and Admissions Services (UCAS), using the UCAS Apply option.

UCAS Apply is a secure online application system that allows you to apply for full-time Undergraduate courses at universities and colleges in the United Kingdom. It is made up of different sections that you need to complete. Your application does not have to be completed all at once. The system allows you to leave a section partially completed so you can return to it later and add to or edit any information you have entered. Once your application is complete, it must be sent to UCAS so that they can process it and send it to your chosen universities and colleges.

The UCAS code name and number for the University of East Anglia is EANGL E14.

Further Information

If you would like to discuss your individual circumstances with the Admissions Office prior to applying please do contact us:

Undergraduate Admissions Office (World Art Studies and Museology)
Tel: +44 (0)1603 591515
Email: admissions@uea.ac.uk

Please click here to register your details online via our Online Enquiry Form.

International candidates are also actively encouraged to access the University's International section of our website.

    Next Steps

    We can’t wait to hear from you. Just pop any questions about this course into the form below and our enquiries team will answer as soon as they can.

    Admissions enquiries:
    admissions@uea.ac.uk or
    telephone +44 (0)1603 591515