By Femi Alufa
The controversy surrounding Elder Emmanuel Oladunjoye Abejide’s allegation that Erelu Bisi Adeleye-Fayemi (former Ekiti First Lady) took multi-million-naira artworks without payment after a 2020 exhibition has understandably stirred public interest and emotion – especially given the artist’s advanced age and contributions to Nigerian cultural heritage.
However, it is equally important to approach the narrative with care, fairness, and a respect for due process rather than presuming guilt or assigning blame prematurely.
In an official statement, Erelu Bisi Fayemi categorically denied ever taking possession of any artwork without payment or authorization. She described the allegations as “misleading, unfair, and gross misrepresentation of the facts” and made it clear that she never personally received or withheld any of the artworks.
This matters because the rule of law and fairness require that no public figure be judged solely on accusation without transparent and verifiable evidence – especially in disputes that occurred years earlier.
According to her statement, the “Steady Strides” exhibition in question was organised by the Ekiti State Ministry of Arts and Culture, which handled logistics like documentation, valuation, and payment processes for selected works. Mrs Fayemi said she was only invited as a special guest and had expressed willingness to pay for any art she selected, but was told by ministry officials that they would manage subsequent negotiations and payments.
If true, this points to potential administrative oversight rather than deliberate misconduct by the former Ekiti State First Lady,Mrs Bisi Adeleye-Fayemi herself. In disputes involving multiple layers of governmental responsibility, the absence of clear paper trails and communication breakdowns can easily lead to misunderstanding without implying malicious intent.
It will recall that Erelu Bisi Fayemi remained in office for two years after the 2020 event, and in that time, she was never approached by the artist or his representatives about the missing works. She also emphasized that she has always been accessible and would have resolved the matter immediately had it been raised earlier.
This is significant. If a problem truly occurred, the absence of prior direct communication could suggest that the escalation to public allegation may reflect breakdowns in communication or record-keeping rather than a deliberate and sustained refusal to engage.
It’s crucial to acknowledge that artists, especially elder cultural practitioners, deserve respect, fair treatment, and prompt payment for their work. Nigerian arts and cultural heritage have long been undermined by weak institutional support and inconsistent valuation of creative labor.
However, championing the rights of artists should not be conflated with prematurely condemning individuals without due process. Accountability and transparency demand that such matters be investigated properly – preferably through an independent, impartial inquiry into what happened to the artworks, the communications that occurred, and the roles of all parties involved (artists, organisers, government officials). That’s precisely what Mrs Bisi Fayemi has called for in her statement.
In conclusion,my defense of Erelu Bisi Adeleye- Fayemi here is not a dismissal of the artist’s feelings or the seriousness of his loss, but rather a call for measured judgment, fairness, and due process. In complex disputes involving large sums, multiple stakeholders, and years-old events, the court of public opinion must not substitute for transparent investigation and factual clarity.
If an investigation eventually confirms failures in administration or accountability, those responsible should be held to account. But until then, it is premature and unjust to assume malice or personal culpability on the part of Erelu Bisi Adeleye-Fayemi – especially in light of her public records as a social change philanthropist ,policy advocate and one of the most vocal rights activists and thinkers on the African continent, there are few women in the world who can speak above a whisper.
- Femi Alufa writes from Ado-Ekiti, Ekiti State.
