By Osa Mbonu-Amadi, Arts Editor 

The agonising wait finally ended on December 27, 2024, when Eyamba Dafinone received the long-awaited news from Lagos. But the relief was short-lived, as the update only fuelled her growing unease. The packages, meant to arrive with her from Dakar on December 17, had eventually materialised in Lagos ten days after her return, at 10 p.m. the previous night. 

As she struggled to shake off the lingering sense of dread, the tranquil atmosphere of Abuja’s holiday season seemed to mock her. Her staff’s frantic enquiries at Murtala Muhammed International Airport had yielded nothing but silence until this sudden announcement of the packages’ arrival. 

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But as her team inspected the parcels, a sense of foreboding settled in. The numbers didn’t add up—19 parcels instead of 20. Eyamba Dafinone’s worst fears were confirmed as she watched the video footage, her mind racing with the implications. The evidence was damning: tampered cases, once-pristine packaging now marred by meddling hands.

As the truth began to unravel, Eyamba Dafinone’s anxiety turned to outrage. A meticulous headcount revealed the unthinkable: 23 bronze heads had been shipped, but only 20 remained. The video recordings, once a meticulous record, now served as a scathing indictment. Three priceless bronze heads had vanished, and with them, four paintings, including two by Gbolahan Ayoola, one by the female artist Morohunmbo, and one by Senegalese artist Camara Gueye. The revelation only strengthened Eyamba Dafinone’s resolve: she would stop at nothing to track down the missing pieces and bring the perpetrators to justice.

It all started with the momentous event—the 15th edition of the Dakar Biennale, themed “The Wake—L’Éveil.” This Africa’s leading biennial art meet unfolded against the stunning backdrop of the historic Ancien Palais de Justice on Cap Manel, overlooking the vast ocean. Initially scheduled for May 16 to June 16, 2024, the biennale was postponed to November 7 to December 7 due to the turbulent political climate and a shift in cultural leadership.

The event also featured OFF exhibitions alongside its main events, and one of these OFF exhibitions was a significant collaboration between Davsien Gallery and Ndikama Museum, both owned by Eyamba Dafinone, showcasing the works of three visionary Nigerian artists: Ebenezer Akinola, Gbolahan Ayoola, and Gerald Chukwuma. 

Their art masterfully wove narratives that delved into historical contexts, presenting a profound exploration of Africa’s rich artistic heritage.The Ndikama Museum added depth to the exhibition by showcasing cultural artefacts that highlighted the evolution of art from ancient Igbo Ukwu to contemporary expressions. The exhibition left a lasting impact, with attendees’ comments echoing its profound effect. 

Mrs. Dafinone boarded the Air Peace flight from Lagos to Dakar on November 6, filled with excitement and anticipation for the upcoming Biennale. But the 525 kilogrammes of artworks she was supposed to transport didn’t make the cut, rejected by the airline despite her repeated pleas.

Also, with her team’s arrival hanging in the balance, her anxiety grew. The news that followed was that her team was barred from travelling due to ECOWAS travel document issues. The airport staff’s requirement for biometric cards seemed insurmountable, and attempts to obtain them had failed.

As the days ticked by, her artworks finally arrived in Dakar, and the former Chancellery of the Nigerian Embassy was transformed into a vibrant exhibition space. The historic building on Avenue Cheikh Anta Diop was given a new lease of life, courtesy of the organisers’ extensive renovations. On November 15, 2024, the exhibition “The Metamorphosis of African Art” debuted to a glittering audience consisting of seven ambassadors and other dignitaries. The evening air was alive with elegance and sophistication, as art enthusiasts, diplomats, and influencers mingled at the two cocktail parties hosted by Ndikama and Davsien—one on November 15 and the other on November 30.