Disbelonging and unruly return in the performance art of Wura-Natasha Ogunji

Bimbola Akinbola*

*Corresponding author for this work

Research output: Contribution to journalArticlepeer-review

Abstract

This article examines the theme of disbelonging via unruly return in the performance art of Nigerian American artist Wura-Natasha Ogunji. Specifically looking to Ogunji's 2012 series Mo gbo mo branch/I heard and I branched myself into the party, the essay analyzes how Ogunji uses live performance to navigate Lagos as a queer, mixed-race American national, arguing that her refusal to be denied belonging while in Lagos and “crashing the party” disrupts easy understandings of belonging, citizenship, and cultural ownership. This article contends that Ogunji embodies return as a state of ongoing disruption and (re) imagining, for black women across the diaspora.

Original languageEnglish (US)
Pages (from-to)152-169
Number of pages18
JournalText and Performance Quarterly
Volume40
Issue number2
DOIs
StatePublished - Apr 2 2020

Keywords

  • African diaspora
  • Disbelonging
  • Wura-Natasha Ogunji
  • performance
  • unruly return

ASJC Scopus subject areas

  • Communication
  • Visual Arts and Performing Arts
  • Literature and Literary Theory

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