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.

中文翻译：

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Wura-Natasha Ogunji 行为艺术中的不归属与不羁回归

摘要 本文探讨了尼日利亚裔美国艺术家 Wura-Natasha Ogunji 行为艺术中通过不守规矩的回归而脱离归属的主题。特别关注 Ogunji 的 2012 年系列 Mo gbo mo branch/我听说并且我自己加入了派对，这篇文章分析了 Ogunji 如何使用现场表演来驾驭拉各斯作为一个奇怪的混血美国国民，认为她拒绝被剥夺归属感而在拉各斯，“撞党”破坏了对归属感、公民身份和文化所有权的简单理解。本文认为，对于散居海外的黑人女性来说，奥根吉的回归体现了一种持续的破坏和（重新）想象的状态。