how certain mature males (elders?) may have dressed up for death—in terms of the clothing, jewellery, and cosmetic containers interred with them. Given the lack of sustained resesarch, we are much less certain about gendered ideologies, gendered performance, and gender practices in non-mor- tuary situations during the ProBA. Nonetheless, the images or individuals represented by the anthropomorphic W gurines of the ProBA must have played some role in shaping the ideology of gender in everyday practice. They also provide some insight into changing political formations and the emergence of new social identities during the ProBA. Once we dispense with the notion that every statuette or human representation portrays a deity, for example, the bird- headed (Type A) and normal-faced (Type B) W gurines may be seen as repre- senting motherhood, personhood, feasting or other types of celebration (as dancers or celebrants), or possibly cultic practice (as priestesses). The bronze Bomford statuette (see Figure 32) serves as a striking marker of elite female identity, one that may have served in part to legitimize elite domination over copper production and trade. Both the male (Ingot God, Horned God— Figures 58, 59) and female metal W gurines thus would have served as represen- tations of elite authority that helped to promote and support urban expansion and economic intensi W cation during the ProBA. Finally, we should no longer think of these W gurines in simple binary terms: both males and females (the majority) were represented, and more thorough and nuanced analyses may uncover multiple or ambiguous gendered representations that defy traditional sexual categories, as is the case with PreBA W gurines. Bolger’s (2003: 175–9) discussion of gender mutability, for example, nicely portrays the possibility of ‘third gender’ or ‘transgendered’ individuals interred in ProBA tombs at Enkomi, Hala Sultan Tekke, Ayios Dhimitrios , Ayios Iakovos, and Lapithos.