It is the year of our gods Thirteen Hundred and Fifty-five. The young king, Mkpatak Udoikpe IV, is getting ready to take a new bride; his 37th wife. This means that he has just had his 37th war victory. The king has a tradition of marrying a new wife after each war triumph. The maidens have gathered at the village square to dance the love dance so the king could make his choice. Of course, this was the latest test in a series of tests to select the best for the king, the woman who will occupy the Office of Oga Wife often reserved for the newest bride chosen for her age, wisdom, character and beauty. She would run the palace, receive important state visitors, go with the king to important state functions, during which she would display her intelligence, elegance and beauty in handling the affairs of the state alongside the king. Indeed, she was not only a woman, but a symbol of the state’s promise and power.
The current holder of the Office of Oga Wife is Queen Ekaette. As she watches the maidens file out to begin the dance from which would emerge her successor, Queen Ekaette cannot help but feel a little jealous as she will be soon losing the pecks of her office. But such is life. She ‘supplanted’ someone and now it is her turn to be ‘supplanted’. This was the game of power; it is ephemeral in its longevity. After all, it is not her fault that the king won a huge victory over the people of Itak Ibibene Kingdom in his endless quests for territorial expansion. Immediately the victory was evident, Queen Ekaette knew that oblivion was beckoning on her, for to lose the Office of Oga Wife is to descend into political and social obscurity. These Queens are never heard of again, except through the memories of the projects they had executed and how they touched the hearts of the people through empathetic leadership.
Only seven maidens have qualified for the last stage of the King’s bride selection process. They are Edifonobong, Editiobong, Idaraobong, Imaobong, Mfonobong, Itorobong and Edikanobong. Each maiden represents one of the seven villages that make up Akwa Akpa Kingdom. This means that they had beaten all the contestants in their various villages to get to this stage. There is hardly a test or hurdle that was not placed on their way in order to reveal their character, for no mean woman can or should occupy the Office of Oga Wife of the Kingdom Akwa Akpa. One Inimfon was disqualified for not helping an elderly woman to carry her load on the farm road. One Ekeminiobong was eliminated for filching the young prince’s gold ring carefully dropped along the path she walked on and made to look like it was dropped there by a careless owner.
‘Let the drum roll!’ Obong Udo Idiong, the King’s Adviser, orders and the competition begins. All the 36 wives of the king are seated waiting to welcome a new wife into their home at the end of the dance, which is another war in the Kingdom, this time a war to win the King’s heart. The maidens dance their hearts out as the King watches intently. It is not just a dance, but an existential drama in which each maiden narrates the stories of their lives; their struggles and triumphs, their tears and laughter, their vices and virtues.
Edifonobong dances away the depression that followed her father’s death in the 36th war of the Kingdom. She smiles to her mother and siblings who have come to cheer her to victory. But she has a temper that can overturn the King’s palace when provoked. Will the king overlook this fault and choose her?
Editiobong’s dance steps are memorable; she eyes the king with a charming smile but the King’s intelligence team had already told the King that she has a lover. So the King is not deceived by her smile.
Idaraobong’s dance is overtly seductive, for she believes, as her mother does, that men are mostly moved by what they see. But the King was also moved by virtues and Idara does not have virtues, only pretence of virtues. The other day the king had disguised as a beggar to approach Idara for a cup of her water as she was returning from the stream; she had not only refused, she also showed overt contempt towards the beggar. The King watches her deceptive dance for a while and then shifted her gaze.
Imaobong’s dance is decorated with grace and enthusiasm. She is the daughter of the best palm wine tapster in the Kingdom of Akwa Akpa. Imabong is renowned for her humility and beauty. She was a perfect candidate for the position of Oga Wife. The King was about making up his mind about her when, in the heat of the ekombi dance, her chest wrapper goes lose and flies to her legs leaving breasts momentarily exposed to the full glare of the people. This is tragic because the King’s Queen’s nakedness must never be seen in public.
Mfonobong’s dance steps please the King more than others at this point in the dance. She is naturally a gifted dancer. Mfonobong is equally blessed with beauty and intelligence. But the King will not choose her because physically the king loves his women to be chubby, but Mfonobong was quite slim. She was unfortunately disqualified by no fault of hers. Life was that cruel.
Itorobong’s dance was cathartic and spellbinding. As she dances, she reveals her pains and gains in life; the pains of discipline and the gains of obedience. Her dance steps flatter her beautiful curves, her smile hides her anxiety, her bright eyes pierce the king’s heart, making him to stand up for the first time since the event began. The crowd roars and everyone holds their breath as the king’s gaze shifts to Edikanobong.
Edikanobong is the youngest of the maidens, more beautiful than the rest, full of wisdom and vitality. Her mother has taught her the ebre dance steps which only few could attempt at her age. Now as the king looks at her, Edikanobong changes her dance steps to the ebre steps, turning her back to the King. The crowd claps and roars again as the young maiden steals the show from the rest. At this point, all the maidens put up their best and last act, knowing that the moment has finally come for the king to make his choice.
The king takes another step from where he stands, his eyes roving and reviewing the maidens and their dance for the last time. Will it be Edikanobong, Itorobong, Mfonobong, Imaobong, Idaraobong, Editiobong or Edifonobong?
Having made up his mind, Obong Mkpatak Udoikpe IV moves towards the chaste dancers.