Performance

Ama Josephine Budge is a performance artist who trained in contemporary performance at the Royal Conservatoire of Scotland in Glasgow. Their work navigates explorations of racial, gendered and feminist identities with strong theoretical research. NueNua draws on a mixed Ghanaian/British heritage, working with a high aesthetic, often creating extreme spaces of the Other and inviting the audience to interact, to challenge, to expose and be exposed.

Crafts: Performance Art, Poetry, Erotic and Science Fictional Performance Lectures

All images ®AmaJosephineBudge

Performance at The Cocoa Butter Club, London Debut

July 2017 - NueNua's London Debut at The Cocoa Butter Club

July 2017, The Cocoa Butter Club

Invoked: A performance reading

July 2014 the launch of HYSTERIA #3 Abjection

"Sara sat in the mud, her heaving breaths all hauled away, her tears soaked up by the silence. Now there was only the faltering bird song, anxiously returning in the absence of her sobs, and the awe of the bluebells..."

A night for HYSTERIA

August 2014 - 56a Infoshop with poets Prue Chamberlain & Selina Nwulu

An intimate night....a night to gather and discuss, to debate and interrogate, to laugh and to listen, we three many over the witches brew! Words on the shelves, words in our ears in our eyes in our minds, sneaking seductively into dreams like the rubbery skins of a congregation of over-ripe grapes.

Scalding Desires

April 2014 - Beyond The Sheets: A Conference About Sex
Goldsmiths University

A performer in suit trousers, and a blazer that is undone, exposing her bra, stands on a small block at a podium. She wears a balaclava and places her breasts upon semi-circular grooves within the lectern before beginning to read off of cards that she discards upon the floor as she finishes with each one. Many dirty secrets, scattered amongst her voyeurs: her audience.

She recites extracts of sexual scenes from various literature, or film scripts, some of which are well known, some obscure, some unpublished, some banned, some of which she has written herself. She plays with the language, repeating and mis-reading words, changing the emphasis of sentences, subverting both her own and the listeners fantasy’s, daring them to be turned on. Slowly the accounts can be pieced together out of all of these works, all of these voices: the orgasms of ages, and a story emerges, dripping with oily distaste, shying from the light in torment and in ecstasy.