The portrait sculpture to the left captures an individual, a beloved spouse, while this puppet represents an ideal bride. Wearing a hat fashionable during the 1940s, the doll has a curvy figure associated with a fertile young woman. The markings on the figure’s skin would remind viewers of mbopo, the process of girls’ training and fattening before marriage. Her pronounced navel is a mark of beauty, while her pert breasts suggest a bride’s youthful vitality. With moveable arms, this sculpture served as an example of a virtuous young maiden at the threshold of adulthood. Members of the warrior society, Ekong, would use this puppet with other recognizable ‘types’ in community plays that encouraged good behavior and satirized bad.