Journal articles on the topic 'Body Shaping Waist Trainer'

Background: Rib remodeling is a surgical technique for waist shaping in women and men. However, one of the main patient complaints is the scar. We aimed to describe a scarless, ultrasound-guided rib remodeling (RibXcar) technique that assessed the degree of angular variation of the fracture by ultrasound and the variation in waist measurement and patient satisfaction through a survey. Methods: The RibXcar technique was performed in 30 women aged 18–35 years in Peru, Colombia, and Mexico between October and December 2022 by three board-certified plastic surgeons trained in ultrasound and in this technique. The plastic surgeons measured costal angles before and immediately, 1 month, and 3 months after the surgery by ultrasound, as well as the waist in the same site and at these time points. Similarly, patient satisfaction was surveyed 3 months after the surgery, in which questions were asked about body aesthetics and the puncture site. Results: Ultrasound angular measurements before and immediately, 1 month, and 3 months after the surgical procedure were 168.00, 158.00, 160.00, and 160.43 degrees in the 10th rib, 170.50, 160.50, 152.50, and 163.50 degrees in the 11th rib, and 172.00, 162.00, 154.00, and 165.00 degrees in the 12th rib, respectively. The satisfaction survey showed that patients were satisfied with the aesthetic results of both the shape of the waist and the puncture site. Conclusions: RibXcar surgery maintains the angular variation over time. Similarly, waist measurements show a sustained reduction. Three months postoperatively, the patients were satisfied with the aesthetic results of the waist and the puncture site.

Abstract Our study presents a new pattern-making approach that is composed of three major steps: to establish the new torso classification; to improve the pattern shaping method; to solve the problem of misfit of female dresses. New additional measurements were obtained from full bust, waist and hip circumferences and divided between front and back parts separately from 3D body scanning data. By creating 8 new torso subtypes Y1, Y2, A1, A2, B1, B2, C1, and C2, which reflect the body characteristics and torso morphology through distribution of bust girth between the front and the back, we have developed the Chinese female torso classification. On the basis of the new classification and the Japanese method of pattern block drafting, we improved the method of calculation of waist darts and the shaping of two kinds of female dresses: first kind doesn’t have the horizontal waist seam (one-piece dress) and second kind has the waist horizontal seam (two-pieces dress containing from the top and the skirt). The new torso subtypes and new pattern block shaping approach are taken into attention as the body characteristics will significantly improve the quality of clothes. New method of pattern pieces shaping in according with the characteristic features of a 3D virtual avatar allows to integrate this virtual pattern-generating approach into the pattern-making systems.

ABSTRACT. Introduction. Regular physical activity has positive effects on human body composition, even if not combined with a diet. For many people this activity aims to reduce the amount of fat in some areas of the body and targets body shaping. Objectives. The main objective of this study was to learn about the effects of a 12-months regular participation in aerobic training exercises. Methods. This study was voluntarily attended by 89 women with an average age of 31.62, practicing aerobic exercises in gyms, three times a week for a period of 12 months. We carried out anthropometric measurements of subjects at the beginning and at end of the study, respectively, and data was statistically analysed using the SPSS 23.0 software. Results. Data collected was statistically processed, showing that participation in physical training led to reducing body weight by 4.81 kg, decrease of adipose tissue - between the two moments there was a difference of 5 % - fat mass decreased by 4.26 kg, and lean body mass by 0.55 kg. Significant decrease in chest, waist and hip circumference was also noticed. Conclusions. Regular participation in physical training programs involving aerobic exercise for 12 months has had the effect of reducing body weight and the amount of fat in some areas of the body, materialized by decreasing the value of the circumference of the chest, waist and hips, with the intention of reaching the ideal body weight and aiming for body shaping.

Background: Technology-based exercise programs have the potential to reduce chronic disease prevalence and obesity-related risks. This research focuses on the impact of both traditional and virtual exercise programs on the health metrics of corporate employees. Methods: The study involved 30 corporate employees (16 females, average age ± SD = 37.8 ± 8.8 years) from Nigeria, who were divided into two experimental groups (one experiencing traditional exercises with an on-site trainer, and the other participating in live, virtual classes via Zoom) and a control group continuing usual practices. The 6-week intervention measured several health outcomes, including resting heart rate, blood pressure (both diastolic and systolic), body mass index (BMI), waist circumference, and waist-hip ratio, both before and after the intervention. Results: One-way analysis of covariance yielded significantly greater decreases in the diastolic blood pressure, F(2,27) = 3.7, p < 0.04; systolic blood pressure F(2,27) = 3.5, p < 0.04, body mass index, F(2,26) = 7.8, p < 0.01, and waist circumference, F(2,27) = 39.1, p < 0.01. Conclusions: The study concludes that virtual-based exercise programs are as effective as traditional ones. Offering a virtual exercise option provides flexibility, potentially increasing adherence to exercise routines among corporate workers.

Purpose: This research aims to present the effects of a whole-body electrical muscle stimulation (WB-EMS) physical training program on body composition and subjective pain experience for the 50 years old man A 71-day program was designed for the patient who completed 6 months of physiotherapy and rehabilitation phase after arthroscopy of a frozen shoulder, as an alternative way to complete recovery and increase comfort of life. Methods: A WB-EMS trainer supervised a subject as he worked out, following a detailed physical training program displayed on a projector screen. The subject exercised by imitating the movements shown in a previously recorded video, while the trainer carefully observed the subject. All data was collected (body composition and circumference, quality of life, subjective shoulder pain and perceived exertion questionnaire)and exercises performed based on programmed training were made in the laboratory with access to appropriate equipment. Results: Comparing day 0 (before training) and day 71, an upward trend was observed for muscle mass +5.82 kg (+19%) and segmental body composition data for lean mass +6.38 kg (+13%) in total. A downward trend was observed for segmental body composition data for fat mass –5.60 kg (-24%) in total. Body circumference data decreased for the hip, waist, and thigh -4.4cm (-2%) in total. Body circumference data increased for the arm, calf, and chest +8.7cm (+4%) in total. Our results indicated that WB-EMS physical training program can reduce fat (especially hip and waist area) and obtain gain mass, especially muscle mass for older subjects without pain. Quality of life index increase from 115 points (67%) to 152 points 89%. Conclusions: The WB-EMS physical training program was a joint shoulder-friendly form of physical exercise during which the patient reported no pain. Subject achieved the training goal: reducing fat mass and gaining muscle mass which will increase his comfort of life and perhaps prevents other age-related diseases 50+. Because of the study’s-controlled environment, this training could likely be adapted for successful home use with careful attention to detail, especially having the trainer’s guidance readily accessible.

With the advancement in technology and the growing sedentary lifestyle, comorbidities related to obesity and overweight are also increasing. Every other person complains of weight gain and is looking for ways to reduce pounds on the scale. Most people have started working out at their homes instead of going out to the gym due to the Coronavirus Pandemic, while others have a proper routine of working out in the gym. Thus, our research study compares the effectiveness of home-based workout programs and gym workouts to analyze which type of workout will provide the most effective results in the shortest time, keeping in view the participants' caloric intake. This study aims to inspect the amount of fat loss, changes are seen on the weight scale, changes in body composition (via BIA analysis), waist circumference, waist-to-hip ratio, keeping in view the intensity and duration of exercise parallel to their caloric intake. It was a four week (one month) comparative study on 50 home-based exercisers and 50 adults working out in the gym (ages 19 – 39) under the supervision of a trainer. The weight, body and visceral fat percentages were assessed using a Body Impedance Analysis (BIA) machine. Also, variables measured were waist circumference, height, blood pressure, pulse rate, respiratory rate and social status (through MacArthur's subjective social status ladder). There was observed dietary history from every individual through a 24-hour dietary recall for the past three days. Subjects had a follow-up after every seven days (weekly), and all the data was entered and analyzed on SPSS. Out of 100 participants, 68% study participants were males and 32% participants were females. Most of the participants were not taking any diet or were taking greater than equal to 1400 kcals per day. Comorbidity data showed that, 86% participants did not have any comorbidities while remaining 14% had different types of comorbidities. 49% participants were doing strength training, 34% were performing cardio, 12% were doing aerobics and 5% opted for yoga. In the gym in higher social status, it is only males that are working out while some females of low socio-economic status also work out at the gym. Males of very low socioeconomic status also prefer gym workout. In home-based work out there is equal number of males and females in higher social status whereas only females of low socioeconomic status prefer working out at home. Gender wise distribution of type of exercise (TOE) and type of diet (TOD) data showed that most males are strength training with ≥ 1400 kcal. Most females perform cardio exercises with a caloric intake of 1100 to 1300 kcal per day. classification of subjects according to body mass index (BMI) showed that 4% individuals had lower BMI, 24% were normal, 14% and 22% were overweight and obese respectively, however 28% had morbid obesity. Results showed that people who do home based workout had significant difference with body fat percentage, visceral fat percentage, waist circumference and body mass index. However, there were no significant differences found in terms of Waist to hip ratio, heart rate, and Respiratory Rate. The chi-square test shows .001 significance which means there is a significant association between BMI and gender. Gym and home-based workouts have their benefits, and we cannot label one as more beneficial. But people who work out in the gym had lesser body fat and lesser visceral fat, which gives it more significance. Moreover, gym workouts proved to keep control of blood pressure in individuals. Both gym and home workouts have similar effects on the waist to hip ratio, heart rate and respiratory rate. The benefit of home workouts is evident in reducing waist circumference.

The article theoretically and experimentally substantiates the hygienic value of nutrition during health shaping classes aimed at normalizing body weight in the studied persons. The main goal of the proposed method was to normalize the weight of female students, strengthen their health, increase interest and involve female students in regular physical education and health classes through the use of shaping tools. The need to make certain corrections in the diet of female students, considering the physiological needs of their bodies, observing the hygienic requirements for the rational nutrition of the subjects, was established. An own version of the correction of the actual diet of the researched subjects is given, using the example of the daily diet of female students, taking into account the identified shortcomings. A comparative analysis of the anthropometric indicators of the studied female students was carried out. The anthropometric research data obtained at the beginning of the experiment, namely the determination and analysis of body weight, body mass index, waist-thigh index, abdominal circumference, body fat content by body mass index level, revealed the presence of excess body weight in the studied female students. The analysis of the data obtained in the course of scientific research made it possible to draw the following conclusions. Deficiencies in the nutrition of the studied girls were revealed. The need to make certain corrections in the diet of female students, considering the physiological needs of their bodies, observing the hygienic requirements for the rational nutrition of the subjects, was established. An own version of the correction of the actual diet of the researched subjects is presented, using the example of the daily diet of female students, considering the identified shortcomings. The effectiveness of the use of shaping classes with the observance of nutritional correction of female students who have excess body weight has been confirmed experimentally, which was manifested in positive dynamics in the anthropometric indicators of girls. We observe positive changes in indicators: body weight; total thickness of subcutaneous fat folds; body fat content according to body mass index.

Background: The escalating prevalence of overweight and obesity has heightened concerns about cardiovascular health. The intricate interplay between lipid profile variables and weight-related outcomes plays a pivotal role in shaping cardiovascular risks among individuals with excess body weight. This study investigates the associations between lipid profile variables and weight-related indicators in a cohort of healthy, overweight adults, shedding light on potential implications for cardiovascular risk management. Methods: The prevalence of metabolic syndrome, risk factors, and related lifestyle in adult Myanmar citizens were examined in the Inter-University Consortium for Political and Social Research Study (ICPSR146521) using prospective data. The patient’s lipid profiles and demographic data were statistically analyzed using the statistical MedCalc tool. Statistical significance was determined using a 0.05 p-value. Results: Results demonstrate that while BMI is influenced by multiple factors beyond lipid profile variables, waist circumference exhibits moderate association with these variables. Notably, triglycerides significantly correlated with waist circumference, suggesting a potential role in visceral fat accumulation. Additionally, the study highlights the impact of high-density lipoprotein (HDL) cholesterol levels on body weight, indicating that higher HDL levels are associated with lower body weights among healthy overweight adults. Conclusion: This study provides comprehensive insights into the complex relationship between lipid profile variables and weight-related outcomes among healthy, overweight adults. These findings underscore the importance of weight management strategies for cardiovascular health and suggest potential avenues for targeted interventions. By understanding the interplay between lipid profiles and obesity, clinicians and public health professionals can develop more effective strategies to mitigate cardiovascular risks in this demographic

Background: A healthy lifestyle is not always able to improve the abdomen’s appearance, especially in those patients who have undergone sudden weight changes. Objective: We aimed at evaluating the efficacy of combined microwaves and flat magnetic stimulation (FMS) to treat abdominal localized adiposity and laxity. Methods: Twenty-five patients were subjected to two treatment sessions per month on the abdominal area with microwaves. FMS was also performed twice per week, with a minimum of two days between each session for two months. The technology uses three types of different protocols: massage, muscle definition (shaping), and muscular strengthening. Measurements, including body mass index (BMI) and waist, and abdominal ultrasound were performed at baseline and three months after the last treatment session. Blood examinations were performed, and a 5-Likert scale questionnaire was used to assess patient satisfaction. Results: At follow-up, three months after the last treatment, the mean waist circumference (WC) was significantly reduced, and skin laxity improved in all patients (p < 0.001). A significant improvement in abdominal muscle tissue thickness was also shown in all abdominal areas, and the thickness of the adipose tissue evaluated by ultrasound was reduced. Conclusions: This study proves that the combination of microwaves and FMS treatment is secure and efficient for treating abdominal subcutaneous fat and skin laxity.

Introduction and objective: Preschool and early school age plays an important role in shaping the foot and posture in children. The aims of the study were to assess the correctness of foot shape in preschool children and to determine possible correlations with age, gender, waist-to-height ratio (WHtR) and body mass index (BMI), and the centre of body gravity. Materials and methods: A study of feet and anthropometric parameters was carried out in children aged 4–6 years. Foot examination was performed using a podoscope and a strain gauge platform, while body weight was assessed using a Tanita device. Body weight, height, Clarke’s angle, centre of gravity, and WHtR were analysed. Results: There were no statistically significant differences in the value of the Clarke’s angle between the left and right feet in both girls and boys, regardless of the age group. The BMI did not correlate statistically with the results of the Clarke’s angle measurements, both for all the subjects and taking into account their age. The BMI value was statistically significantly correlated with the centre of body gravity due to the correct WHtR. Conclusions: The study confirmed that the longitudinal arch of the foot shows no clear sexual dimorphism. The BMI and Clarke’s angle were not dependent on each other in the study group. The study showed no changes in the centre of body gravity in relation to the children’s body shape.

Introduction: Childhood serves as the foundational bedrock shaping future health and well-being, with the musculoskeletal system playing a pivotal role in overall physical development. This study investigated the intricate relationship between anthropometric indicators and musculoskeletal fitness among boys aged 9-12 years, illuminating the nuances of this crucial developmental phase. Methods: A cohort of 100 boys from Wheaton International Schools underwent comprehensive anthropometric measurements, encompassing height, weight, BMI, waist circumference, body fat percentage, and skinfold assessments. Their musculoskeletal fitness was evaluated through diverse physical fitness tests, including Sit and Reach, Push-Up, Standing Long Jump, and Shuttle Run. Descriptive statistics were utilized to present the mean values and standard deviations of the collected anthropometric indicators, providing insights into the physical attributes and body composition of the boys. Subsequently, correlation analysis was performed between these anthropometric indicators and the physical fitness tests to understand their relationships. Results: Age showcased inverse relationships with flexibility and agility, while height emerged as a predominant influencer across all physical tests. BMI exhibited multifaceted impacts on various aspects of physical capabilities, shedding light on its potential implications for musculoskeletal health. The discussion extrapolates upon these correlations, elucidating age-related changes during adolescence, the profound influence of height on overall physical performance, and the intricate associations between body composition metrics and specific physical abilities. These insights foster a deeper understanding of childhood health and pave the way for targeted interventions in youth fitness programs. Conclusion: This study's revelations underscore the significance of anthropometric markers in assessing musculoskeletal fitness among elementary school boys, offering valuable insights into the interplay between physical attributes and functional capabilities. These findings lay the groundwork for informed strategies aimed at nurturing optimal musculoskeletal health in the formative years, thereby shaping healthier futures for the upcoming generation.

Since 2020 there has been an increase in demand for home workouts. Therefore, different ways of delivering distance training have been proposed to promote “stay active at home.” This study aimed to compare the effectiveness of three different training programs consisting of a total of 15 workouts (three sessions per week): supervised livestreaming (LS), unsupervised following a video recording (VR), and unsupervised following a written program (WP). Changes in anthropometric and cardiovascular variables, muscle fitness, and physical activity levels were evaluated. To provide a meaningful analysis for significant comparisons between small groups, mean differences (∆), 95% confidence interval (95% C.I.), and Cohen’s effect sizes (E.S.) were also calculated. The three training modalities increased physical activity levels, with an adherence rate of LS = 93.3%, VR = 86%, and WP = 74%. Although there was no reduction in body weight, waist circumference decreased by 1.3 cm (95% C.I. = −2.1, −0.5; E.S. = 0.170; p < 0.004). Furthermore, where LS, VR, and WP resulted in improvements in muscle fitness, only LS showed changes in cardiovascular variables, such as resting heart rate (∆ = −7.3 bpm; 95% C.I. = −11.9, −2.7; E.S. = 1.296; p < 0.001) and Ruffier’s index (∆ = −2.1bpm; 95% C.I. = −3.5, −0.8; E.S. 1.099; p < 0.001). Remote online training proved its effectiveness over a short period of time. However, supervised training proved to be the most effective, highlighting the importance of an experienced trainer.

Aim: The present study aimed to assess the efficacy of a nutraceutical ingredient, SelectSIEVE® Rainbow, based on botanical extracts, in ameliorating cellulite-derived skin imperfections and microcirculation. The nutritional supplement contained a mixture of Oryza sativa (L.), Citrus sinensis (L.) Osbeck, Ananas comosus (L.) Merr, and Actinidia chinensis Planch; all ingredients were botanicals that can be used in food supplements. Results: In vitro studies showed the high capacity of the supplement to have an anti-inflammatory, antioxidant, and hypolipidemic effect, accompanied by an interesting proteolytic activity. The randomized double-blind placebo-controlled clinical trial, carried out on 60 women during an 8-week treatment period, confirmed the in vitro study results. SelectSIEVE® Rainbow showed a whole-body shaping activity, with a reduction of the waist, hip, and tight circumference of 0.8, 0.65 and 0.72 cm, respectively. It also showed a reduction of subcutaneous fat mass of 1.24 mm and body weight, with an average of 0.7 kg and positive peaks of −2.9 kg. Skin health and appearance were also improved: +5.4% skin elasticity, +5.5% skin tonicity and +5.7% skin draining. Finally, the dermatological evaluation of the cellulite score and microcirculation showed an improvement in 57% and 60% of the subjects enrolled in the studies. Conclusions: This first study provides interesting inputs on the effectiveness of the nutraceutical complex standardized in polyphenols, anthocyanins and proteolytic enzymes to counteract cellulite blemishes and improve local microcirculation. The positive response encourages deeper studies and further investigation.

Aims: To evaluate the association between metabolically healthy overweight/obesity (MHO) status and longitudinal cognitive function while also considering the stability of the condition. Methods: In total, 2892 participants (mean age 60.7 (9.4) years) from Framingham Offspring Study completed health assessments every four years since 1971. Neuropsychological testing was repeated every four years starting from 1999 (Exam 7) to 2014 (Exam 9) (mean follow-up: 12.9 (3.5) years). Standardized neuropsychological tests were constructed into three factor scores (general cognitive performance, memory, processing speed/executive function). Healthy metabolic status was defined as the absence of all NCEP ATP III (2005) criteria (excluding waist circumference). MHO participants who scored positively for one or more of NCEP ATPIII parameters in the follow-up period were defined as unresilient MHO. Results: No significant difference on the change in cognitive function over time was observed between MHO and metabolically healthy normal weight (MHN) individuals (all p > 0.05). However, a lower processing speed/executive functioning scale score was observed in unresilient MHO participants compared to resilient MHO participants (β = −0.76; 95% CI = −1.44, −0.08; p = 0.030). Conclusions: Retaining a healthy metabolic status over time represents a more important discriminant in shaping cognitive function compared to body weight alone.

The main objective of this cross-sectional study was to analyze the influence of lifestyle factors (diet, physical activity, sleep) that can affect the concentration of fecal short-chain fatty acids (SCFAs) and SCFAs’ potential role in modulating cardiometabolic disease risk by interacting with biochemical and body composition parameters. The study comprised 77 healthy, non-obese individuals aged 30–45 years who were assessed for the concentration of SCFAs in stool, diet, physical activity level, and sleep duration. Moreover, body composition measurement and patients’ biochemical parameters were included in the analysis. We have indicated a significant negative correlation between several SCFAs (especially acetic acid (AA), isobutyric acid (IBA), butyric acid (BA), propionic acid (PA), isovaleric acid (IVA) and valeric acid (VA)) with BMI, VAT/SAT ratio (visceral to subcutaneous fat ratio), and percentage of fat mass in a group of females enrolled in the study as well as with waist circumference (WC) in case of both sexes included in the study. Moreover, the results of our study acknowledged the importance of a diet in shaping the SCFA profile—we noticed significant negative associations between energy and fat intake and some SCFAs in males (IBA, IVA, VA, isocaproic acid (ICA)). Further, we indicated that a high intake of fiber (insoluble and soluble) in both males and females results in an elevated concentration of the vast majority of SCFAs and the amount of SCFAs in total. This effect was particularly noticeable in the case of the soluble fraction of fiber. These correlations reflect the fact that diet shapes the composition of the gut microbiota and SCFAs (main microbial metabolites) are synthesized from dietary fiber. In addition, we noticed that in a group of women, the concentration of AA, PA, and ICA as well as the total concentration of SCFAs showed a significant positive association with their sleep duration. We concluded that SCFAs can have a potential role in modulating cardiometabolic disease risk by interacting with adiposity parameters and diet. In addition, this potential direct link between diet and SCFAs may at least partly contribute to sleep improvement.

A holistic approach to understanding the relationship between diet, lifestyle and obesity is a better approach than studying single factors. This study presents the clustering of dietary and lifestyle behaviours to determine the association of these dietary-lifestyle patterns (DLPs) with adiposity, nutrition knowledge, gender and sociodemographic factors in teenagers. The research was designed as a cross-sectional study with convenience sampling. The sample consisted of 1549 Polish students aged 11–13 years. DLPs were identified with cluster analysis. Logistic regression modelling with adjustment for confounders was applied. Three dietary-lifestyle patterns were identified: Prudent-Active (29.3% of the sample), Fast-food-Sedentary (13.8%) and notPrudent-notFast-food-lowActive (56.9%). Adherence to Prudent-Active pattern (reference: notPrudent-notFast-food-lowActive) was 29% or 49% lower in 12-year-old or 13-year-old teenagers than in 11-year-old teenagers, respectively, and higher by 57% or 2.4 times in the middle or the upper tertile than the bottom tertile of the nutrition knowledge score. To the contrary, adherence to Fast-food-Sedentary (reference: notPrudent-notFast-food-lowActive) was lower by 41% or 58% in the middle or the upper tertile than the bottom tertile of the nutrition knowledge score, respectively. In Prudent-Active, the chance of central obesity (waist-to-height ratio ≥0.5) was lower by 47% and overweight/obesity was lower by 38% or 33% (depending on which standard was used: International Obesity Task Force, 2012: BMI (body mass index)-for-age ≥ 25 kg/m2 or Polish standards, 2010: BMI-for-age ≥ 85th percentile) when compared with the notPrudent-notFast-food-lowActive pattern. In Fast-food-Sedentary, the chance of central obesity was 2.22 times higher than the Prudent-Active pattern. The study identified a set of characteristics that decreased the risk of general and central adiposity in teenagers, which includes health-promoting behaviours related to food, meal consumption and lifestyle. Avoiding high-energy dense foods is insufficient to prevent obesity, if physical activity and the consumption frequency of health-promoting foods are low and breakfast and a school meal are frequently skipped. The results highlight the importance of the nutrition knowledge of teenagers in shaping their health-promoting dietary habits and active lifestyle to decrease adiposity risk and negative aspects of lower family affluence which promotes unhealthy behaviours, both related to diet and lifestyle.

Introduction & Objective: The Do Right! Diabetes Challenge is a comprehensive lifestyle intervention program designed for African Americans diagnosed with Type-2 Diabetes or Prediabetes in the Greater Cincinnati area. Recognizing the unique challenges faced by under-resourced communities, the ultimate goal of this intervention is to generate a sustainable impact on overall health and improve diabetes control. Methods: We enrolled 22 participants for a 12-week intervention. Participants aged 18 or older with HbA1C ≥ 5.6 mg/dL, residing in the Greater Cincinnati area, were eligible for inclusion. The intervention consisted of weekly exercise sessions with a personal trainer, nutrition education classes, and life-coaching sessions. Key health metrics for diabetes, including HbA1C, total cholesterol, blood pressure, Body Mass Index (BMI), and waist circumference (in.) were measured before and after the intervention. Statistical analyses were conducted using a Wilcoxon Signed-Rank Test since all variables were matched, continuous, and nonparametric per the Shapiro-Wilk Test. Results: Enrolled participants had a 1.47 mg/dL (p&lt; 0.007) reduction in HbA1C levels after participating in the program compared to baseline. Additionally, there was a reduction of 12.72 mmHg (p&lt; 0.002) in diastolic blood pressure and a reduction of 6.6 in. (p&lt; 0.005) of waist circumference compared to baseline. However, no significant change in cholesterol levels, systolic blood pressure, or BMI was observed. Conclusion: The Do Right! Diabetes Challenge significantly improved participant’s health measures including HbA1C, diastolic blood pressure, and waist circumference. The findings of the study underscore the potential benefit of targeted, comprehensive interventions for improving diabetes care in disadvantaged communities. In the future, a larger cohort will be enrolled to further investigate the longitudinal impact of community-based diabetes management for at-risk patient populations. Disclosure N.S. Trichy: None. R. Mahaffey Harris: None.

The aim is to establish a shaping efficacy grading model for underbust corsets by exploring the pressure and shaping efficacy. Nine Chinese female college students aged 20–25 years old were employed in the pressure test and shaping efficacy experiment. In the pressure test, the pressures were measured at 31 points before and after wearing underbust corsets. In the shaping efficacy experiment, participants underwent three-dimensional body scanning before and after wearing underbust corsets. By analyzing the relationship between the pressure and shaping efficacy of underbust corsets, a shaping efficacy grading model characterized by pressure was established using the indirect grading method: when the comprehensive pressure values of the underbust circumference (UBC), waist circumference (WC) and abdominal circumference (AC) are 0–1.8, 1.8–2.4 and 2.4–3.4 kPa, the shaping efficacy of underbust corsets should be Grades I, II and III, respectively. Finally, the applicability of the grading model obtained is discussed, and the optimized model of underbust corsets based on the average pressure values is established: when the average pressure values of the UBC, WC and AC are 0–1.4, 1.4–2.1 and 2.1–3.4 kPa, the shaping efficacy of underbust corsets should be Grades I, II and III, respectively.

While hundreds of studies have investigated the indices that make up attractive body shapes, these studies were based on preferences measured in the laboratory using pictorial stimuli. Whether these preferences translate into real-time, face-to-face evaluations of potential partners is unclear. Here, 539 (275 female) participants in 75 laboratory-based sessions had their body dimensions measured before engaging in round-robin speed dates. After each date, they rated each other’s body, face, personality, and overall attractiveness and noted whether they would go on a date with the partner. Women with smaller waists and lower waist-to-hip ratios were found most attractive, and men with broader shoulders and higher shoulder-to-waist (or hips) ratios were found most attractive. Taller individuals were preferred by both sexes. Our results show that body dimensions associated with greater health, reproductive value (in women), and formidability (in men) influence face-to-face evaluations of attractiveness, consistent with a role of intersexual selection in shaping human bodies.

Yoga is recognized as a form of psychosomatic medicine that integrates a person's physical, mental and spiritual components to improve aspects of health, particularly stress-related ailments. It has been shown to contribute to chronic diseases such as heart disease, cancer and stroke. MATERIALS AND METHODS: Convenient and purposive sampling was used to collect the data because the data was gathered during the COVID-19 second wave i.e. from February 2021 to May 2021. All the participants included in the study (89) were enrolled for YOG TRAINER PROGRAM under Gujarat Yog Board and practiced yoga daily from 5am to 7am regularly for 2 months. Oral consent was taken from the participant prior to that of data collection. Paired t test was used to calculate the significant difference between the before and after BMI’s and WHR’s of the participants. RESULTS: Out of 89 participants around 70% participants were found with the visceral fat above normal range. 68 participants had BMI above normal range. 47 had waist hip ratio over normal range (> 0.85). 100% participants had abnormal (above normal) Body fat. 67 participants showed body age difference of 10+ years. Though the samples suffered from higher obesity 66%, 54% and 73% didn’t showed any effects of depression, anxiety and stress respectively. CONCLUSION: Regular practice of Yoga decreased participants visceral fat & body fat around 1-2 units/month. And weight around 2-4 kgs/month. Approximately 15% people normalized their body BMI and 20% normalized their WHR (waist hip ratio). 2 participants were able to overcome to regulate the thyroxine production and stop the regular thyroid medication.

This study designed three different types of sports bras based on the physiological characteristics of female upper bodies. The dressing pressure, skin temperature, and shaping support effectiveness of one subject when wearing those sports bras were evaluated under static and dynamic states. The results indicated that all designed bras illustrated excellent pressure comfort. Regarding the thermal comfort and shaping support performance, sports bras B2 and B3 with further optimizations had improved performances compared to B1. Besides, it was found that the skin temperature would increase with the dressing pressures from sports bras. The increased but comfortable dressing pressure could also benefit the shaping and support performance of sports bras. B22 and B33 had superior support performance to B1, with excellent ability to lift and gather the breasts, and to retract the waist. In summary, optimized sports bras with a cross, hollowed-out, and split design could effectively meet body comfort needs.

This study looks into challenges custom designers face in constructing garments for unique female figures and the satisfaction derived in terms of fit and comfort by the unique female figures, namely: 'A,' 'V,' 'H' and 'O' body shapes, in the Cape Coast Metropolis, Ghana. A total of 120 participants, comprising 60 custom designers and 60 unique figures, were purposively sampled and data were collected using observational checklists and structured interviews. The study reveals that garment shaping is the most challenging process custom designers face in garment making for unique figures. Unique figures were barely satisfied with the overall garment fit of their custom-made garments. The 'A' body shapes were most displeased, whereas the 'H' body shapes were most pleased with the fit of their custom-made garments. This study observes that custom designers' adjustment methods are not suitable for the shoulders, bust, waist, hip, buttock, thigh and armhole areas of the garment resulting in fit problems for their customers. Also, custom designers are not aware of some garment areas, such as the bust, armhole, sleeve length, waist, hip, thigh and buttock, which give problems to their clients. It is recommended that designers should always be abreast with how to manipulate patterns or incorporate adaptation techniques while cutting out fabric so that garments fit different body types.

Background. Proper nutritional behaviors are one of the most important factors shaping our health, as they influence people's physical and mental state. Good eating habits help prevent many chronic diseases, including cardiovascular disease, type II diabetes, some types of cancer, and osteoporosis. The Polish population aged 20-34 years displays improper nutritional behaviors which may put them at risk of developing diet-dependent diseases in the future. There is a need to assess students' lifestyle, including their eating habits, as it would help adapt already existing education programs. Objective. We evaluated and compared eating habits and lifestyle of students studying cosmetology and physiotherapy in association with selected risk factors of civilization diseases. Material and methods. We used a standardized dietary questionnaire evaluating respondents' physical activity, smoking and dietary habits. The obtained results were compared with the recommendations from the Polish food-based dietary guidelines. We evaluated respondents' nutritional status based on their anthropometric measurements such as body weight, body height, hips and waist circumferences and then we estimated their body mass index (BMI) and waist hip ratio (WHR). Results. Students studying cosmetology and physiotherapy obtained on average 5.3 ±1.5 points based on their compliance with the nutritional recommendations. The academic youth did not meet principles of healthy nutrition according to the given recommendations. There were no significant differences in nutrition status between the faculties, except for products that provide complete protein. Conclusions. There is a need to increase nutritional awareness of academic youth, especially students of health-related faculties, because better knowledge on nutrition would help them choose healthier food options.

Abstract Background Considering the prevalence of overweight and abdominal obesity in middle-aged women, this study was conducted to determine the effect of empowerment program to reduce sugar consumption based on the Multi-Theory Model (MTM) on Body Mass Index (BMI) and abdominal obesity in women aged 30–60 in Joven. Methods This quasi-experimental study (include descriptive and interventional sections) was conducted on the Joven city, Khorasan Razavi province, Iran country from October 2020 to August 2021. Sampling was performed as a multi-stage cluster. First, a descriptive study was performed among 400 women, and then 128 people who were eligible to enter the interventional phase of the study were selected. In the control group, 63 people and in the intervention group, 65 people were eligible to enter the study. The educational intervention was performed in five 60-minute sessions for groups of 12 people. The instruments included the demographic questionnaire, sugar consumption checklist and researcher-made questionnaire based on MTM constructs. Before the intervention, one, three and six months after the intervention, the questionnaire was completed by both intervention and control groups also measurement of waist circumference and BMI were performed using standard instruments. The obtained data were analyzed by SPSS 17. Results After the educational intervention, there was a significant difference between the intervention and control groups in all the MTM constructs. Also, six months after the educational intervention, BMI, waist circumference and amount of consumption of sugary substances decreased significantly in the intervention group (p < 0.05). Conclusion Educational intervention based on the MTM can be effective in reducing the consumption of sugary substances and shaping behaviors related to healthy lifestyle in women.

Background: Pharmacists are currently providing comprehensive medication management in the outpatient setting. However, there is little documented evidence demonstrating pharmacists are generating further improved health outcomes utilizing non-pharmacologic support, such as fitness and nutrition counseling. The objective of this study is to determine if a pharmacist-led wellness program with medication management and lifestyle modifications through fitness and nutrition coaching can lead to improved biometric markers. Methods: The wellness program targeted corporate employees and was offered in a corporate headquarters' setting with an on-site workout facility. The program was expected to recruit approximately 15 patients into the wellness program consisting of two treatment arms. The standard group featured nutrition-based classes, medication therapy management and fitness education. The intervention group performed the standard group's activities plus direct, supervised fitness training once weekly. Measured biometric markers were assessed at baseline, 3.5 months, and 7 months and included body mass index (BMI), waist circumference (WC), fasting blood glucose (FBG), systolic and diastolic blood pressure (SBP and DBP), and full lipid panel (TC, TG, HDL, and LDL). Results: Seventeen patients were enrolled in the study. The standard group (n = 11) and intervention group (n = 6) had relatively similar biometric markers at baseline. Seven total patients completed the study (4 from standard group, 3 from intervention group). The majority of biometric markers improved in both groups, and BP and LDL control was maintained for all who completed the study. Conclusion: These data suggest that a licensed pharmacist with certified personal trainer credentials may be capable of maintaining biometric markers at healthy levels and improving where necessary in an employee wellness program through one-on-one medication, fitness and nutrition support. Additional, large-scale research is needed to verify the clinical outcomes and feasibility in a larger group setting. Type: Clinical Experience

Abstract Background The body shaping market has long been at the forefront of the aesthetic industry. With technological advances, patient demand for body sculpting in terms of reduction in subcutaneous tissue and enhancement of muscle has seen continual growth. Several devices have emerged in the space, however few that achieve both SQR (Subcutaneous Tissue Reduction) and VMI (Voluntary Muscle Increase) as measured by thickness, during the same treatment session. Objectives This article presents the results of a pilot study on a unique approach to subcutaneous tissue reduction and increasing muscle thickness using a dual modality, energy-based device. Methods 12 compliant subjects (8 female and 4 male with an average age of 40 years were enrolled in this single center, prospective study. All subjects were treated with the dual modality device (850 nm super-luminescent diode matrix and electrical muscle stimulation) with external applicators being placed over the lower abdomen. The subjects received five (5) weekly treatments. Ultrasound measurements, photos, weight and waist measurements were taken at baseline, prior to the start of the 5th treatments and at the two (2) week and two (2) month follow-up visits. Results At the two (2) month follow up visit, the average Subcutaneous Tissue Reduction (SQR) was 34.03% and the Voluntary Muscle Increase (VMI) measured 22.97% in all subjects who completed the study. All subject and physician evaluations rated results as satisfactory or better. There were no complications. Conclusions Preliminary data shows this dual-modality, Electrical Muscle Stimulation/Super Luminescent Diode Matrix (EMS/SDM) system provides both a safe and effective treatment for the reduction of subcutaneous tissue thickness and increase in muscle definition and thickness. Objective and subjective evaluations demonstrated high levels of efficacy and satisfaction in all subjects.

Background:A wide range of methods are offered to effectively eliminate cellulite and improve the appearance of the skin. At the same time, the arsenal of tools that make it possible to objectively assess the possibilities of cosmetic and aesthetic therapeutic measures is very limited. Aims: Evaluation of the effectiveness of the compression microvibration method for the correction of structural and functional skin changes in women with gynoid lipodystrophy of different age groups Materials and methods: A single-center, non-randomized, prospective study of the effectiveness of the compression microvibration method was carried out in 27 women with mild to moderate gynoid lipodystrophy aged 40 to 69 years under the control of ultrasonographic skin examination before treatment, after 12 procedures and after 2 months. after a course of therapy. Additionally, anthropometric parameters were measured, and the body mass index was calculated. Results: The dynamics of BMI values revealed a trend towards weight loss in most of the participants. The circumference of the hips and waist in participants aged 40-49, 50-59 and 60-69 years decreased by 3.01.1 and 5.31.1 cm, 2.20.9 and 4.1 1.3 cm and 2.50.9 and 6.31.5 cm, respectively. After the course "Endospheres Therapy" in patients of these age groups in the areas of the anterior, inner, posterior thigh and anterior surface of the abdomen, the thickness of the dermis decreased by 15.6, 9.5 and 18.1%; 10.9, 10.5 and 19.3%; 6.1, 15.7 and 13.8%, 23.4, 14.7 and 14.5% (p0.05); increased echogenicity of the dermis in the areas of the anterior, inner, posterior thigh and anterior abdominal surface by 2, 1.4 and 1.3 times; 1.2, 1.4 and 1.2 times; 1.4, 1.4 and 1.5 times; 1.3, 1.5 and 1.7 times (p0.05); the echogenicity of the hypodermis decreased by 30.8, 27.6 and 31.2% (p0.05); 20.1, 37.3 and 40.4% (p0.05); 43.2, 57.8 (p0.05) and 9.3%; 23.6, 15.2 (p0.05) and 9.3%, respectively. The effect persisted 60 days after the course of therapy. Conclusions: These results have convincingly demonstrated the effectiveness of Endospheres Therapy in women with mild to moderate gynoid lipodystrophy for body shaping and skin improvement in the long term without revealing any side effects.

The story of Barbie is a tapestry woven with threads of cultural significance, societal shifts, and corporate narratives. It’s a tale that encapsulates the evolution of American post-war capitalism, mirroring the changing tides of social norms, aspirations, and identities. Barbie’s journey from Germany to Los Angeles, along the way becoming a global icon, is a testament to the power of Ruth Handler’s vision and Barbie’s marketing. Barbie embodies and reflects the rise of mass consumption and the early days of television advertising, where one doll could become a household name and shape the dreams of children worldwide. The controversies and criticisms surrounding Barbie – from promoting a ‘thin ideal’ to perpetuating gender and racial stereotypes – highlight the complexities of representation in popular culture. Yet, Barbie’s enduring message, “You can be anything”, continues to inspire and empower, even as it evolves to embrace a more inclusive and diverse portrayals of power, beauty, and potential. Barbie’s story is not just about a doll; it’s about the aspirations she represents, the societal changes she’s witnessed, and the ongoing conversation about her impact on gender roles, body image, and consumer culture. It’s a narrative that continues to unfold, as Barbie adapts to the times and remains a symbol of possibility. Barbie: A Popular Culture Icon “It is impossible to conceive of the toy industry as being anything other than dependent on a popular culture which shapes and structures the meanings carried by toys” (Fleming 40). The relationship between toys and popular culture is symbiotic. While popular culture influences the creation of toys, toys also contribute to the spread and longevity of cultural icons and narratives. Today, one of the most influential, popular, and contested toys of the twentieth century is Mattel’s Barbie doll. Her launch at the New York Toy Fair on 9 March 1959 by Mattel co-founder Ruth Handler was a game-changer in the toy industry. Her adult appearance, symbolised by her fashionable swimsuit and ponytail, was a bold move by Mattel. Despite the doubts from the toy industry which thought nobody would want to play with a doll that had breasts (Tamkin) and Mattel’s skepticism of its commercial success (Westenhouser 14), Barbie was a success, selling over 350,000 units in her first year, and she quickly became an iconic figure, paving the way for other male and female adult dolls. For the first time in mid-century America, Barbie meant children could play with a doll that looked like a woman, not a little girl or a baby. In a 1965 interview, Ruth Handler argued that American girls needed a doll with a “teen-age figure and a lot of glorious, imaginative, high-fashion clothes” (cited in Giacomin and Lubinski 3). In a 1993 interview, Handler said it was “important that Barbie allowed play situations that little girls could project themselves into … to imagine, pretend and to fantasize”. Hence Ruth Handler’s Barbie could be an “avatar for girls to project their dreams onto” (Southwell). Barbie hit the market with a “sassy ponytail, heavy eyeliner, a healthy dose of side-eye and a distinctly adult body” (Blackmore). Her arched eyebrows were matched with a coy sideways glance reflecting her sexual origins (Thong). Mattel did not reveal that Ruth Handler’s Barbie was inspired by a German novelty men’s toy, Bild Lilli, which Handler had purchased on a European holiday in 1955. Mattel fought several lawsuits and eventually secured the rights to Bild Lilli in 1964, which required the German maker of the Bild Lilli doll to not make her again. Barbie dolls, both blonde and brunette, changed little until 1967, when Mattel launch the ‘new’ Barbie doll which is the foundation for today’s Stereotypical Barbie. The same size as the original, thanks to Mattel engineer Jack Ryan she could twist and turn at the waist. Her facial features were softened, she had ‘real’ eyelashes’ and took on an ‘outdoor look’. The new 1967 version of Barbie originally retailed for US$3.00. Mattel, assuming consumers may not want to buy a new Barbie when they already had one, offered buyers the new Barbie at US$1.50 if they traded in their old 1950s Barbie. The television advertising campaign for the new Barbie featured Maureen McMormick (who would go on to play Marcia Brady in the TV series The Brady Bunch from 1969 to 1974). The original #1 Barbie today sells for over US$25,000 (Reinhard). The most expensive Barbie sold to date was a Stefano Canturi-designed Barbie that sold in 2010 for US$302,500 at Christies in New York (Clarendon). Barbie has been described as “the most successful doll in history”, “the most popular toy in history”, the “empress of fashion dolls” (Rogers 86), the “most famous doll in the world” (Ferorelli), the biggest-selling fashion doll in history (Green and Gellene), and is one if the world’s “most commercially successful toys” (Fleming 41). Barbie is both “idealistic and materialistic” and characterises an “American fantasy” (Tamkin). More so, she is a popular culture icon and “a unique indicator of women’s history” (Vander Bent). The inclusion of Barbie in America’s twentieth-century Time Capsule “cemented her status as a true American icon” (Ford), as did Andy Warhol when he iconised Barbie in his 1968 painting of her (Moore). During the 1950s and 1960s, Barbie’s name was licenced to over 100 companies; while a strategic move that expanded Barbie’s brand presence, it also provided Mattel with substantial royalty payments for decades. This approach helped solidify Barbie’s status as a cultural icon and enabled her to become a lucrative asset for Mattel (Rogers). Sixty-five years later, Barbie has 99% global brand awareness. In 2021, Mattel shipped more than 86 million Barbies globally, manufacturing 164 Barbies a minute (Tomkins). In 2022, Barbie generated gross sales of US$1.49 billion (Statista 2023). With this fiscal longevity and brand recognition, the success of the Barbie film is not surprising. The 2023 film, directed by Greta Gerwig and starring Australian Margot Robbie as Barbie and Canadian Ryan Gosling as Ken, as of March 2024 has a global box office revenue of US$1.45 billion, making it the 14th most successful movie of all time and the most successful movie directed by a woman (Statista 2024). Contested Barbie Despite her popularity, Barbie has been the subject of controversy. Original Barbie’s proportions have been criticised for promoting an unrealistic body image (Thong). Barbie’s appearance has received numerous critiques for “representing an unrealistic beauty standard through its former limited skin tone and hair combination” (Lopez). The original Barbie’s measurements, if scaled to life-size, would mean Barbie is unusually tall and has a slim figure, with a height of 5 feet 9 inches, a waist of just 18 inches, and hips of approximately 33 inches. Her bust would measure around 32 inches with an under-bust of 22 inches, and her shoulder width would be approximately 28 inches. Original Barbie’s legs, which are proportionally longer than an average human’s, would make up more than half her height (Thong). A 1996 Australian study scaled Barbie and Ken to adult sizes and compared this with the physical proportions of a range of women and men. They found that the likelihood of finding a man of comparable shape to Ken was 1 in 50. Barbie was more problematic. The chance of a woman being the same proportion as Barbie was 1 in 100,000 (Norton et al. 287). In 2011, The Huffington Post’s Galia Slayen built a life-sized Barbie based on Barbie’s body measurements for National Eating Disorder Awareness Week. Slayen concluded that “if Barbie was a real woman, she’d have to walk on all fours due to her proportions”. One report found that if Barbie’s measurements were those of a real woman her “bones would be so frail, it would be impossible for her to walk, and she would only have half a liver” (Golgowski). A 2006 study found that Barbie is a “possible cause” for young girls’ “body dissatisfaction”. In this study, 162 girls from age 5 to 8 were exposed to images of a thin doll (Barbie), a plus-size doll (US doll Emme, size 16), or no doll, and then completed assessments of body image. Girls exposed to Barbie reported “lower body esteem and greater desire for a thinner body shape than girls in the other exposure conditions”. The study concluded that “early exposure to dolls epitomizing an unrealistically thin body ideal may damage girls' body image, which would contribute to an increased risk of disordered eating and weight cycling” (Dittman and Halliwell 283). Another study in 2016 found that “exposure to Barbie” led to “higher thin-ideal internalization”, but found that Barbie had no “impact on body esteem or body dissatisfaction” (Rice et al. 142). In response to such criticism, Mattel slowly introduced a variety of Barbie dolls with more diverse body types, including tall, petite, and curvy models (Tamkin). These changes aim to reflect a broader range of beauty standards and promote a more positive body image. Barbie has always had to accommodate social norms. For this reason, Barbie always must have underpants, and has no nipples. One of the reasons why Ruth Handler’s husband Elliott (also a co-founder of Mattel) was initially against producing the Barbie doll was that she had breasts, reportedly saying mothers would not buy their daughters a doll with breasts (Gerber). Margot Robbie, on playing Barbie, told one news outlet that while Barbie is “sexualized”, she “should never be sexy” (Aguirre). Early prototypes of Barbie made in Japan in the 1950s sexualised her body, leaving her to look like a prostitute. In response, Mattel hired film make-up artist Bud Westmore to redo Barbie’s face and hair with a softer look. Mattel also removed the nipples from the prototypes (Gerber). Barbie’s body and fashion have always seemed to “replicate history and show what was what was happening at the time” (Mowbray), and they also reflect how the female body is continually surveilled. Feminists have had a long history of criticism of Barbie, particularly her projection of the thin ideal. At the 1970 New York Women’s Strike for Equality, feminists shouted “I am not a Barbie doll!” Such debates exemplify the role and impact of toys in shaping and reforming societal norms and expectations. Even the more recent debates regarding the 2023 Barbie film show that Barbie is still a “lightning rod for the messy, knotty contradictions of feminism, sexism, misogyny and body image” (Chappet). Decades of criticism about Barbie, her meaning and influence, have left some to ask “Is Barbie a feminist icon, or a doll which props up the patriarchy?” Of course, she’s both, because “like all real women, Barbie has always been expected to conform to impossible standards” (Chappet). Diversifying Barbie Over the decades Mattel has slowly changed Barbie’s body, including early versions of a black Barbie-like dolls in the 1960s and 1970s such as Francie, Christie, Julia, and Cara. However, it was not until 1980 that Mattel introduced the first black Barbie. African American fashion designer Kitty Black-Perkins, who worked for Mattel from 1971, was the principal designer for black Barbie, saying that “there was a need for the little Black girl to really have something she could play with that looked like her” (cited in Lafond). Black Barbie was marketed as She’s black! She’s beautiful! She’s dynamite! The following year, Asian Barbie was introduced. She was criticised for her nondescript country of origin and dressed in an “outfit that was a mishmash of Chinese, Korean and Japanese ethnic costumes” (Wong). More recently, the Asian Barbies were again criticised for portraying stereotypes, with a recent Asian Barbie dressed as a veterinarian caring for pandas, and Asian violinist Barbie with accompanying violin props, reflecting typical stereotypes of Asians in the US (Wong). In 2016, Mattel introduced a range of Barbie and Ken dolls with seven body types, including more curvy body shapes, 11 skin tones and 28 hairstyles (Siazon). In 2019, other Barbie body types appeared, with smaller busts, less defined waist, and more defined arms. The 2019 range also included Barbies with permanent physical disabilities, one using a wheelchair and one with a prosthetic leg (Siazon). Wheelchair Barbie comes with a wheelchair, and her body has 22 joints for body movement while sitting in the wheelchair. The Prosthetic Barbie comes with a prosthetic leg which can be removed, and was made in collaboration with Jordan Reeve, a 13-year-old disability activist born without a left forearm. In 2020, a No Hair Barbie and a Barbie with the skin condition vitiligo were introduced, and in 2022, Hearing Aid Barbie was also launched. In 2022 other changes were made to Barbie’s and Ken’s bodies, with bodies that became fuller figured and Kens with smaller chests and less masculine body shapes (Dolan). Down Syndrome Barbie was released in 2023, designed in collaboration with the US National Down Syndrome Society to ensure accurate representation. By 2024, Barbie dolls come in 35 skin tones, 97 hairstyles, and nine body types (Mattel 2024). Spanning hundreds of iterations, today the Barbie doll is no longer a homogenous, blond-haired, blue-eyed toy, but rather an evolving social phenomenon, adapting with the times and the markets Mattel expands into. With dolls of numerous ethnicities and body types, Barbie has also embraced inclusivity, catering to the plethora of different consumers across the world (Green and Gellene 1989). Career Barbie While not dismissing Barbie’s problematic place in feminist, gender and racial critiques, Barbie has always been a social influencer. Her early years were marked by a variety of makeovers and modernisations, as have recent changes to Barbie’s body, reflecting the changing social norms of the times. Stereotypical Barbie had her first major makeover in 1961, with her ponytail swapped for a short ‘Bubble Bob’ hairstyle inspired by Jackie Kennedy and Marilyn Monroe, reflecting women’s emerging social independence (Foreman). In the early 1970s, Barbie’s original demure face with averted eyes was replaced by a new one that “depicted confidence and a forward-facing gaze” (Vander Bent). Her “soft look” was a departure from the mature image of the original 1959 Barbie (Lafond). The ‘soft look’ on Malibu Barbie with her newly sculpted face featured an open smile for the first time, as well as sun-tanned, make-up free skin and sun-kissed blonde hair. The disappearance of Barbie’s coy, sideways glance and the introduction of forward-looking eyes was a development “welcomed by feminists” (Ford). Barbie’s early makeovers, along with her fashion and accessories, including her homes, cars, and pets, contributed to shaping her image as a fashionable and independent woman. Barbie’s various careers and roles have been used to promote ideas of female empowerment. From astronaut to presidential candidate, Barbie has broken barriers in traditionally male-dominated fields. However, the effectiveness of these efforts in promoting female empowerment is a topic of debate. The post-war period in America saw a significant shift in the pattern of living, with a move from urban areas to the suburbs. This was facilitated by a robust post-war economy, favourable government policies like the GI Bill, and increasing urbanisation. The GI Bill played a crucial role by providing low-interest home loans to veterans, making home ownership accessible to a large segment of the population. It was a significant transformation of the American lifestyle and shaped the country’s socio-economic landscape. It is in this context that Barbie’s first Dreamhouse was introduced in the early 1960s, with its mid-century modern décor, hi-fi stereo, and slim-line furniture. This was at a time when most American women could not get a mortgage. Barbie got her first car in 1962, a peach-colored Austin-Healey 3000 MKII convertible, followed short afterwards by a Porsche 911. She has also owned a pink Jaguar XJS, a pink Mustang, a red Ferrari, and a Corvette. Barbie’s car choices of luxurious convertibles spoke to Barbie’s social and economic success. In 1998, Barbie became a NASCAR driver and also signed up to race in a Ferrari in the Formula 1. Barbie’s ‘I Can Be Anything’ range from 2008 was designed to draw kids playing with the dolls toward ambitious careers; one of those careers was as a race car driver (Southwell). While Barbie’s first job as a baby-sitter was not as glamourous or well-paying as her most of her other over 250 careers, it does reflect the cultural landscape Barbie was living in in the 1960s. Babysitter Barbie (1963) featured Barbie wearing a long, pink-striped skirt with ‘babysitter’ emblasoned along the hem and thick-framed glasses. She came with a baby in a crib, a telephone, bottles of soda, and a book. The book was called How to Lose Weight and had only two words of advice, ‘Don’t Eat’. Even though there was a backlash to the extreme dieting advice, Mattel included the book in the 1965 Slumber Party Barbie. Barbie wore pink silk pajamas with a matching robe and came prepared for her sleepover with toiletries, a mirror, the controversial diet book, and a set of scales permanently set at 110 pounds (approx. 50kg), which caused further backlash (Ford). Barbie’s early careers were those either acceptable or accessible to women of the era, such as the Fashion Designer Barbie (1960), Flight Attendant Barbie (1961), and Nurse Barbie (1962). However, in 1965 Barbie went into space, two years after cosmonaut Valentina Tereshkova became the first woman in space, and four years before the American moon landing. Barbie’s career stagnated in the 1970s, and she spends the decade being sports Barbie, perhaps as a response to her unpopularity among vocal second wave feminists and reflecting the economic downturn of the era. America’s shift to the right in the 1980s saw in the introduction of the Yuppie, the young urban professional who lived in the city, had a high-powered career, and was consumption-driven. More women were entering the workforce than ever before. Barbie also entered the workforce, spending less time doing the passive leisure of her earlier self (Ford). It also signals the beginning of neoliberalism in America, and a shift to individualism and the rise of the free market ethos. In 1985, Day-to-Night Barbie was sold as the first CEO Barbie who “could go from running the boardroom in her pink power suit to a fun night out on the town”. For Mattel she “celebrated the workplace evolution of the era and showed girls they could have it all”. But despite Barbie’s early careers, the focus was on her "emphasized femininity”, meaning that while she was now a career woman, her appearance and demeanor did not reflect her job. Astronaut Barbie (1985) is a good example of Barbie’s ‘emphasised femininity’ in how career Barbies were designed and dressed. Astronaut Barbie is clearly reflecting the fashion and culture trends of the 1980s by going into space in a “shiny, hot pink spacesuit”, comes with a second space outfit, a shiny “peplum miniskirt worn over silver leggings and knee-high pink boots” (Bertschi), and her hair is too big to fit into the helmet. A dark-skinned US Astronaut Barbie was released in 1994, which coincided with the start of the Shuttle-Mir Program, a collaboration between the US and Russia which between 1994 and 1998 would see seven American astronauts spend almost 1,000 days living in orbit with Russian cosmonauts on the Mir space station. Throughout the 1990s, Barbie increasingly takes on careers more typically considered to be male careers. But again, her femininity in design, dressing and packaging takes precedence over her career. Police Officer Barbie (1993), for example, has no gun or handcuffs. Instead, she comes with a "glittery evening dress" to wear to the awards dance where she will get the "Best Police Officer Award for her courageous acts in the community”. Police Office Barbie is pictured on the box "lov[ing] to teach safety tips to children". Barbie thus “feminizes, even maternalises, law enforcement” (Rogers 14). In 1992, Teen Talk Barbie was released. She had a voice box programmed to speak four distinct phrases out of a possible 270. She sold for US$25, and Mattel produced 350,000, expecting its popularity. The phrases included ‘I Love Shopping’ and ‘Math class is tough’. The phrase ‘Math class is tough’ was seen by many as reinforcing harmful stereotypes about girls and math. The National Council of American Teachers of Maths objected, as did the American Association of University Women (NYT 1992). In response to criticisms of the gendered representations of Barbie’s careers, Mattel have more recently featured Barbie in science and technology fields including Paleontologist Barbie (1996 and 2012), Computer Engineer Barbie (2010), Robotics Engineer Barbie (2018), Astrophysicist Barbie (2019), Wildlife Conservationist Barbie, Entomologist Barbie (2019), and Polar Marine Biologist Barbie (all in collaboration with National Geographic), Robotics Engineer Barbie (2018), Zoologist Barbie (2021), and Renewable Energy Barbie (2022), which go some way to providing representations that at least encompass the ideal that ‘Girls Can Do Anything’. Barbie over her lifetime has also taken on swimming, track and field, and has been a gymnast. Barbie was an Olympic gold medallist in the 1970s, with Mattel releasing four Barbie Olympians between 1975 and 1976, arguably cashing in on the 1976 Montreal Olympics. Gold Medal Barbie Doll Skier was dressed in a red, white, and blue ski suit completed with her gold medal. Gold Medal Barbie Doll is an Olympic swimmer wearing a red, white, and blue tricot swimsuit, and again wears an Olympic gold medal around her neck. The doll was also produced as a Canadian Olympian wearing a red and white swimsuit. Gold Medal Barbie Skater looks like Barbie Malibu and is dressed in a long-sleeved, pleated dress in red, white, and blue. The outfit included white ice skates and her gold medal. Mattel also made a Gold Medal P.J. Gymnast Doll who vaulted and somersaulted in a leotard of red, white, and blue tricot. She had a warm-up jacket with white sleeves, red cuffs, white slippers, and a gold medal. Mattel, as part of a licencing agreement with the International Olympic Committee, produced a range of toys for the 2020 Tokyo Olympics. The collection of five Barbies represented the new sports added to the 2020 Olympics: baseball and softball, sport climbing, karate, skateboarding, and surfing. Each Barbie was dressed in a sport-specific uniform and had a gold medal. Barbie Olympic Games Tokyo 2020 Surfer, for example, was dressed in a pink wetsuit top, with an orange surfboard and a Tokyo 2020 jacket. For the 2022 Winter Olympics and Paralympics, Mattel released a new collection of Barbie dolls featuring among others a para-skiing Barbie who sits on adaptive skis and comes with a championship medal (Douglas). As part of Mattel’s 2023 Barbie Career of the Year doll, the Women in Sports Barbie range shows Barbie in leadership roles in the sports industry, as manager, coach, referee, and sport reporter. General Manager Barbie wears a blue-and-white pinstripe suit accessorised with her staff pass and a smartphone. Coach Barbie has a pink megaphone, playbook, and wears a two-piece pink jacket and athletic shorts. Referee Barbie wears a headset and has a whistle. Sports Reporter Barbie wears a purple, geometric-patterned dress and carries a pink tablet and microphone (Jones). Political Barbie Barbie has run for president in every election year since 1992. The first President Barbie came with an American-themed dress for an inaugural ball and a red suit for her duties in the Oval Office. In 2016, Barbie released an all-female presidential ticket campaign set with a president and vice-president doll. The 2000 President Barbie doll wore a blue pantsuit and featured a short bob cut, red lipstick pearl necklace, and a red gown to change into, “presumably for President Barbie’s inaugural ball” (Lafond). This followed the introduction of UNICEF Ambassador Barbie in 1989. She is packaged as a member of the United States Committee for UNICEF (United Nations International Children’s Emergency Fund), which is mandated to provide humanitarian and development aid to children worldwide. Rather problematically, and again with a focus on her femininity rather than the importance of the organisation she represents, she wears a glittery white and blue full length ball gown with star patterning and a red sash. While some proceeds did go to the US Committee for UNICEF, the dressing and packaging featuring an American flag overshadows the career and its philanthropic message. The period signalled the end of the Cold War and was also the year the United States invaded Panama, resulting in a humanitarian disaster when US military forces attacked urban areas in order to overthrow the Noriega administration. Military Barbie Barbie has served in every US military branch (Sicard). Barbie joined the US army in 1989, wearing a female officer’s evening uniform, though with no sense of what she did. While it may be thought Barbie would increase female in interest in a military career, at the time more women were already enlisting that in any other period from the early 1970s to 2012 (Stillwell). Barbie rejoined the army for the 1990-1991 Gulf War, wearing a Desert Combat Uniform and the 101st Airborne "Screaming Eagle" patch, and serving as a medic. Barbie also joined the Air Force in 1990, three years before Jeannie Leavitt became the first female Air Force fighter pilot. Barbie wore a green flight suit and leather jacket, and gold-trimmed flight cap. She was a fighter pilot and in 1994, she joined the USAF aerial demonstration team, The Thunderbirds. Busy in the 1990s, she also enlisted in the US Navy wearing women's Navy whites. Marine Corps Barbie appeared in 1992, wearing service and conduct medals (Stillwell). All of Barbie’s uniforms were approved by the Pentagon (Military Women’s Memorial). The 2000 Paratrooper Barbie Special Edition was released with the packaging declaring “let’s make a support drop with first aid and food boxes”. She was dressed in undefined military attire which includes a helmet, dog tags, parachute, boots, and hairbrush. Barbie’s Influence In 2014, Barbie became a social media influencer with the launch of the @barbiestyle Instagram account, and in 2015, Barbie launched a vlog on YouTube to talk directly to girls about issues they face. The animated series features Barbie discussing a range of topics including depression, bullying, the health benefits of meditation, and how girls have a habit of apologising when they don’t have anything to be sorry about. The Official @Barbie YouTube channel has over eleven million global subscribers and 23 billion minutes of content watched, making Barbie the #1 girls’ brand on YouTube. Barbie apps average more than 7 million monthly active users and the Instagram count boasts over 2 million followers. The 2023 Barbie film really does attest to Barbie’s influence 70 years after her debut. Barbie, as this article has shown, is more than an influencer and more than a doll, if she ever really was only a doll. She is a popular culture icon, regardless of whether we love her or not. Barbie has sometimes been ahead of the game, and sometimes has been problematically represented, but she has always been influential. Her body, race, ability, careers, independence, and political aspirations have spoken different things to those who play with her. She is fiercely defended, strongly criticised, and shirks from neither. She is also liberating, empowering, straight, and queer. As the articles in this issue reflect, Barbie, it seems, really can be anything. Imagining and Interrogating Barbie in Popular Culture The feature article in this issue outlines how Australian Barbie fans in the 1960s expressed their creativity through the designing and making of their own wardrobes for the doll. Through examining articles from the Australian Women’s Weekly, Donna Lee Brien reveals this rich cultural engagement that was partly driven by thrift, and mostly by enjoyment. Eva Boesenberg examines the social and environmental effects of a plastic doll that is positioned as an ecological ambassador. While there is no doubt that climate change is one of our most pressing social issues, Boesenberg questions the motivations behind Barbie’s eco-crusade: is she an apt role-model to teach children the importance of environmental issues, or is this just a case of corporate greenwashing? Emma Caroll Hudson shifts the focus to entertainment, with an exploration of the marketing of the 2023 blockbuster film Barbie. Here she argues that the marketing campaign was highly successful, utilising a multi-faceted approach centred on fan participation. She highlights key components of the campaign to reveal valuable insights into how marketing can foster a cultural phenomenon. Revna Altiok’s article zooms in on the depiction of Ken in the 2023 film, revealing his characterisation to be that of a ‘manic pixie dream boy’ whose lack of identity propels him on a journey to self-discovery. This positioning, argues Altiok, pulls into focus social questions around gender dynamics and how progress can be truly achieved. Rachel Wang turns the spotlight to Asian identity within the Barbie world, revealing how from early iterations a vague ‘Oriental’ Barbie was accompanied by cultural stereotyping. Despite later, more nuanced interpretations of country-specific Asian dolls, problematic features remained embedded. This, Wang argues, positions Asian Barbies as the racial ‘other’. Kaela Joseph, Tanya Cook, and Alena Karkanias’s article examines how the 2023 Barbie film reflects different forms of fandom. Firstly, Joseph interrogates how the Kens’ patriarchal identity is expressed through acts of collective affirmational fandom. Here, individual fans legitimise their positions within the group by mastering and demonstrating their knowledge of popular culture phenomena. Joseph contrasts this with transformational fandom, which is based upon reimagining the source material to create new forms. The transformation of the titular character of the Barbie movie forms the basis of Eli S’s analysis. S examines how the metaphor of ‘unboxing’ the doll provides an avenue through which to understand Barbie’s metamorphosis from constrained doll to aware human as she journeys from the pink plastic Barbie Land to the Real World. Anna Temel turns her critical gaze to how the 2023 film attempts to reposition Barbie’s image away from gender stereotypes to a symbol of feminist empowerment. Director Greta Gerwig, Temel argues, critiques the ‘ideal woman’ and positions Barbie as a vehicle through which contemporary feminism and womanhood can be interrogated. Temel finds that this is not always successfully articulated in the depiction of Barbie in the film. The reading of the Barbie movie’s Barbie Land as an Asexual Utopia is the focus of Anna Maria Broussard’s article. Here Broussard draws the focus to the harmonious community of dolls who live without social expectations of sexuality. Barbie provides a popular culture reflection of the Asexual experience, expressed through Barbie’s rejection of a heteronormative relationship both in Barbie Land and the Real World. Completing this collection is Daisy McManaman’s article interrogating the multiple iterations of the doll’s embodied femininity. Incorporating an ethnographic study of the author’s relationship with the doll, McManaman uncovers that Barbie serves as a site of queer joy and a role model through which to enjoy and explore femininity and gender. These articles have been both intellectually stimulating to edit, and a joy. We hope you enjoy this collection that brings a new academic lens to the popular cultural phenomenon that is Barbie. References Aguirre, Abby. “Barbiemania! Margot Robbie Opens Up about the Movie Everyone’s Waiting For.” Vogue, 24 May 2023. 16 Mar. 2024 <https://www.vogue.com/article/margot-robbie-barbie-summer-cover-2023-interview>. Bertschi, Jenna. “Barbie: An Astronaut for the Ages.” Smithsonian National Air and Space Museum, 18 Jul. 2023. 11 Mar. 2024 <https://airandspace.si.edu/stories/editorial/barbie-astronaut-ages>. Blackmore, Erin. “Barbie’s Secret Sister Was a German Novelty Doll.” History.com, 14 Jul. 2023. 11 mar. 2024 <https://www.history.com/news/barbie-inspiration-bild-lilli>. Chappet, Marie-Claire. “Why Is Barbie So Controversial? How Ever-Changing Standards for Women Have Affected the Famous Doll.” Harpers Bazaar, 18 Jul. 2023. 11 Mar. 2024 <https://www.harpersbazaar.com/uk/culture/culture-news/a44516323/barbie-controversial-figure/>. Clarendon, Dan. “The Most Valuable Barbie Doll Auctioned for $302,500 — Which Others Carry Value?” Market Realist, 14 Apr. 2023. 15 Mar. 2o24 <https://marketrealist.com/fast-money/most-valuable-barbies/>. Dittman, Helga, and Emma Halliwell. “Does Barbie Make Girls Want to Be Thin? The Effect of Experimental Exposure to Images of Dolls on the Body Image of 5- to 8-Year Old Girls.” Developmental Psychology 42.2 (2006): 283-292. DOI: 10.1037/0012-1649.42.2.283. Dolan, Leah. “Barbie Unveils Its First-Ever Doll with Hearing Aids.” CNN, 11 May 2022. 16 Mar. 2024 <https://edition.cnn.com/style/article/barbie-hearing-aid-ken-vitiligo/index.html>. Douglas, Kelly. “Why the New Para Skiing Barbie Is Groundbreaking for Disability Representation.” The Mighty, 21 Oct. 2023. 25 Mar. 2024 <https://themighty.com/topic/disability/para-skiing-barbie-disability-representation/>. Ferorelli, Enrico. “Barbie Turns 21.” Life, Nov. 1979. 15 Mar. 2024 <https://chnm.gmu.edu/cyh/primary-sources/310.html>. Fleming, Dan. Powerplay: Toys as Popular Culture. Manchester: Manchester UP, 1996. Ford, Toni Marie. “The History of the Barbie Doll.” Culture Trip, 6 Oct. 2016. 16 Mar. 2024 <https://theculturetrip.com/north-america/usa/articles/the-history-of-the-barbie-doll>. Foreman, Katya. “The Changing Faces of Barbie.” BBC, 11 May 2016. 16 Mar. 2024 <https://www.bbc.com/culture/article/20160511-the-changing-faces-of-barbie>. Gerber, Ruth. Barbie and Ruth: The Story of the World's Most Famous Doll and the Woman Who Created Her. HarperCollins, 2009. Giacomin, Valeria, and Christina Lubinski. 2023. “Entrepreneurship as Emancipation: Ruth Handler and the Entrepreneurial Process ‘in Time’ and ‘over Time’, 1930s–1980s.” Business History Online. 20 Mar. 2024 <https://doi.org/10.1080/00076791.2023.2215193>. Golgowski, Nina. “Bones So Frail It Would Be Impossible to Walk and Room for Only Half a Liver: Shocking Research Reveals What Life Would Be Like If a REAL Woman Had Barbie's body.” Daily Mirror, 14 Apr. 2013. 19 Mar. 2024 <https://www.dailymail.co.uk/news/article-2308658/How-Barbies-body-size-look-real-life-Walking-fours-missing-half-liver-inches-intestine.html>. Green, Michelle, and Denise Gellene. “As a Tiny Plastic Star Turns 30, the Real Barbie and Ken Reflect on Life in the Shadow of the Dolls.” People, 6 Mar. 1989. 15 Mar. 2024 <https://people.com/archive/as-a-tiny-plastic-star-turns-30-the-real-barbie-and-ken-reflect-on-life-in-the-shadow-of-the-dolls-vol-31-no-9/>. Jones, Alexis. “Barbie's New 'Women in Sports' Dolls Are a Major Win For Athletes and Fans.” Popsugar, 9 Aug. 2023. 17 Mar. 2024 <https://www.popsugar.com/family/mattel-women-in-sports-barbie-49268194>. Lafond, Hannah. “How Barbies Have Changed over the Years.” The List, 7 Jul. 2023. 16 Mar. 2024 <https://www.thelist.com/1333916/barbies-changed-over-the-years/>. Lopez, Sandra. “10 Barbie Dolls Inspired by Real-Life Iconic Latinas.” Remezcla, 19 Jul. 2023. 20 Mar. 2024 <https://remezcla.com/lists/culture/barbie-dolls-inspired-by-real-life-iconic-latinas/>. Military Women’s Memorial. “Barbie Enlists.” 15 Mar. 2024 <https://womensmemorial.org/curators-corner/barbie-enlists/>. Moore, Hannah. “Why Warhol Painted Barbie.” BBC, 1 Oct. 2015. 15 Mar. 2024 <https://www.bbc.com/news/magazine-34407991>. Mowbray, Nicole. “Dressing Barbie: Meet the Designer Who Created a Miniature Fashion Icon.” CNN, 14 Jul. 2023. 17 Mar. 2024 <https://edition.cnn.com/style/dressing-barbie-iconic-fashion-looks>. New York Times. “Mattel Says It Erred; Teen Talk Barbie Turns Silent on Math." 21 Oct. 1992. 20 Mar. 2024 <https://www.nytimes.com/1992/10/21/business/company-news-mattel-says-it-erred-teen-talk-barbie-turns-silent-on-math.html>. Norton, Kevin, et al. “Ken and Barbie at Life Size.” Sex Roles 34 (1996): 287-294. https://doi.org/10.1007/BF01544300. Reinhard, Abby. “Here's How Much Your Childhood Barbies Are Really Worth Now, New Data Shows.” Best Life, 14 Jul. 2023. 15 Mar. 2024 <https://bestlifeonline.com/how-much-are-barbies-worth-now-news/>. Rice, Karlie, et al. “Exposure to Barbie: Effects on Thin-Ideal Internalisation, Body Esteem, and Body Dissatisfaction among Young Girls.” Body Image 19 (2016): 142-149. https://doi.org/10.1016/j.bodyim.2016.09.005. Rogers, Mary, F. Barbie Culture. Sage, 1999. Siazon, Kevin John. “The New 2019 Barbie Fashionistas Are More Diverse than Ever.” Today’s Parents, 12 Feb. 2019. 19 Mar. 2024 <https://www.todaysparent.com/blogs/trending/the-new-2019-barbie-fashionistas-are-more-diverse-than-ever/>. Sicard. Sarah. “A Few Good Dolls: Barbie Has Served in Every Military Branch.” Military Times, 28 Jul. 2023. 15 Mar. 2024 <https://www.militarytimes.com/off-duty/military-culture/2023/07/27/a-few-good-dolls-barbie-has-served-in-every-military-branch/>. Slayen, Galia. “The Scary Reality of a Real-Life Barbie Doll.” Huffington Post, 8 Apr. 2011. 19 Mar. 2024 <https://www.huffpost.com/entry/the-scary-reality-of-a-re_b_845239>. Southwell, Haxel. “Plastic on Track: Barbie's History in Motorsport”. Road and Track, 21 Jul. 2023. 15 Mar. 2024 <https://www.roadandtrack.com/car-culture/a44588941/plastic-on-track-barbie-history-in-motorsport/>. Statista. “Gross Sales of Mattel's Barbie Brand Worldwide from 2012 to 2022.” 2023. 16 Mar. 2024 <https://www.statista.com/statistics/370361/gross-sales-of-mattel-s-barbie-brand/>. ———. “Highest-Grossing Movies of All Time as of 2024.” 2024. 31 May 2024 <https://www.statista.com/statistics/262926/box-office-revenue-of-the-most-successful-movies-of-all-time/>. Stillwell, Blake. “Barbie and Ken Went to War Long before the 'Barbie' Movie.” Military.com, 26 Jul. 2023. 15 Mar. 2024 <https://www.military.com/off-duty/movies/2023/07/26/barbie-and-ken-went-war-long-barbie-movie.html>. Tamkin, Emily. Cultural History of Barbie.” Smithsonian, 23 Jun. 2023. 17 Mar. 2024 <https://www.smithsonianmag.com/arts-culture/cultural-history-barbie-180982115/>. Thong, Hang. “Barbie’s Doll Dimensions.” OmniSize, 29 Nov. 2023. 19 Mar. 2024 <https://omnisizes.com/hobbies/barbie-doll/>. 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Introduction Contrary to popular understandings of academia, the work of academics is intrinsically community driven, because scholarly inquiry is invariably about social life. Therefore, what occupies academic scholarship is in the interest of the broader populace, and we rely on the public to inform our work. The findings of academic work are simultaneously a reflection of the researcher, and the public. The research interests of contemporary cultural and social researchers inevitably, and often necessarily, reflect issues and activities that they encounter in their everyday lives. My own doctoral research into contemporary cultural discourses informing the expectations, and experiences of motherhood in regional Western Australia, reflects an academic, personal and community interest. The doctoral research drawn on in this paper, stresses the relevance of cultural research projects to the concerns and behaviours of the wider public. The enthusiasm with which participants responded to this project, and reported back about their feelings and actions following the interview was unexpected. The immediacy of the impact this project has had on assisting women to create and consider alternate discourses demonstrates the capacity of this work to inform and direct contemporary social, political and cultural debates surrounding the bodily expectations, and experiences of motherhood. The feminist inspired methodology adopted in this project facilitated my speaking to other women negotiating cultural ideals about what constitutes a "good mother" in contemporary regional Western Australia. It has the potential to open up conversations between women, and between women and men, as evidenced by subsequent responses from participants. By examining the impact of these cultural ideals with everyday women, this project provides a means for women, and men, to reflect, engage critically and ultimately re-shape these discourses to more accurately reveal the desires and aspirations of everyday Australian women. From my perspective, three discourses in particular, the Good Mother, the Superwoman, and the Yummy Mummy, inform the expectations and experiences of motherhood. The orthodox discourse of the 'Good Mother' understands motherhood as a natural feminine desire and it describes characteristics such as enduring love, care, patience and selflessness that are often presented as synonymous with motherhood. Women who can successfully juggle the expectations of being a 'good mother' and a dedicated professional worker, are 'superwomen'. Increasingly dominant is the expectation that following maternity, women should not look as if they have had a child at all; the discourse of the Yummy Mummy focused on in this paper. The relationships between these discourses are complex; "failure to perform" them adequately can result in women being labelled "bad mothers", either by themselves or others. Although these discourses are Western and globalising, they have a tangible effect locally. The cultural scripts they proscribe to are often contradictory; resulting in many women feeling conflicted. Despite some levels of critical engagement with these competing cultural agendas, the women in this study reflected, to differing degrees, their internalisation of the expectations that accompany these cultural scripts. The outcome of this work, and the process of producing it, has the capacity to influence the direction of current debates in Australia. Amongst others, the debate surrounding the contemporary cultural "presentation" of postnatal bodies, including what women should look like as mothers. The role of the media in shaping the current expectations surrounding the postnatal body, including the recently raised proposal that glossy magazines, and other forms of media, should have to declare incidences of Photoshopping, or other forms of photo enhancement, is one agenda that this project can influence. I explore the potential of this work to influence these debates through an examination of the impact of popularised fantasies on women's subjectivity, and feelings towards their postnatal bodies. An examination of the ways that some aspects of mothering are excluded from popular media sources highlights the capacity of this work to provide a practical means of sharing contemporary expectations and experiences of motherhood amongst women, those already mothering, and those intending to mother, and men. These debates have an impact on, and relevance for, the everyday lives of Australian women and men. Feminist Methodologies: Opportunities to Foster Mutual Understanding and Recognition of Shared Experience The motivating emphasis of feminist research is "women's lives and the questions they have about their own experiences" (Bloom 112). Consequently, a feminist methodology includes a concern with transformation and empowerment through the research practice (McRobbie, "Politics" 52). For Luff this reminds feminist researchers that their first duty is to "deal respectively with women's subjectivity, and indeed the inter-subjectivities of researcher and participants" (692). Olesen, in her account of feminist qualitative research, articulates that: the researcher too, has attributes, characteristics, a history, and gender, class, race and social attributes that enter the researcher interaction … in light of the multiple positions, selves, and identities at play in the research process, the subjectivity of the researcher, as much as that of the researched, became foregrounded. (226-7) This signifies for Olesen the indistinct boundary between researchers and researched (227), and for myself, signals the potential that feminist research praxis has for uniting the academic and broader, communities. According to Reinharz the interview has historically been the principle way in which feminists have pursued the active contribution of their participants in the construction of their research projects (Heyl 374). The research findings of this doctoral project are based on a series of interviews with nine intending to mother women, and twenty one already mothering women. The research questions were open-ended to allow participants to answer "in their own terms" (Jones 48). Participants were also encouraged to reflect on aspects of mothering, or plans to mother, that were most significant to them. Following Oakley (49) and others (Bloom 11) argument that there can be no intimacy between researcher and participant without reciprocity, while I chose not to express my personal disagreement to any statements made by participants, I self-consciously chose to answer any questions that participants directed to me. I did not attempt to hide my personal empathy with many of their accounts, and allowed for email follow up. By doing my upmost to position myself as a "validating listener" rather than a scrutinising judge, I allowed the women to reflect on the fact that their feelings were not necessarily unusual or "abnormal", and did not make them "bad mothers". In this way, both the process, and the final product of this work can provide a practical means for women to share some of their feelings, which are often excluded, or in some cases, vilified (Arendell 1196; O'Donohoe 14), in popular media outlets. The outcome of this work can contribute to an alternate space for everyday women to "be real" with both other mothers, and intending to mother women, and contribute to discourses of motherhood. Unreal Imagery and the Postnatal Body: Possibilities for Communication and Alteration Drawing on the principal example of the impact of unreal imagery, specifically images of airbrushed supermodels and celebrities, on the real experiences of motherhood by everyday Australian women, I propose that this project can foster further communications between intending to mother, and already mothering women, and their partners, about the realities, and misconceptions of motherhood; particularly, to share aspects of mothering that are excluded or marginalised in popular media representations. Through this process of validating the experiences of "real" everyday women, women, and men, can affect a break from, or at least critique, dominant discourses surrounding motherhood, and appreciate that there are a multiplicity of opinions, information, and ways of mothering. A dominant aspect of the "unreal" surrounding motherhood concerns the body and what women are led to believe their bodies can, and indeed, should, look like, postnatal. Unsurprisingly, the women in my study associated this "unreal" with Hollywood representations, and the increasing plethora of celebrity mums they encounter in the media. As McRobbie has suggested, a popular front page image for various celebrity chasing weekly magazines is the Yummy Mummy, "who can squeeze into size six jeans a couple of weeks after giving birth, with the help of a personal trainer", an image that has provided the perfect foundation for marketing companies to promote the arena of maternity as the next central cultural performance in terms of femininity, in which "high maintenance pampering techniques, as well as a designer wardrobe" ("Yummy") are essential. The majority of women in my study spoke about these images, and the messages they send. With few exceptions, the participants identified popular images surrounding mothering, and the expectations that accompany them, as unrealistic, and inaccurate. Several women reflected on the way that some aspects of their experience, which, in many cases, turned out to be shared experience, of mothering are excluded, or "hidden away", in popular media forms. For Rachel, popular media representations do not capture the "realness" of everyday experiences of motherhood: I was looking at all these not so real people … Miranda Kerr like breast feeding with her red stiletto's on and her red lipstick and I'm just like right you've got your slippers on and your pyjamas on and you're lucky to brush your teeth by lunchtime … I don't think they want to keep it real … It's not all giggles and smiles; there is uncontrollable crying in the middle of the night because you don't know what's wrong with them and you find out the next day that they've got an ear infection. You know where's all that, they miss out all that, it's all about the beautiful sleeping babies and you know the glam mums. (Rachel, aged 33, mother of one) The individual women involved in this study were personally implicated to differing degrees in these unreal images. For Penelope, these types of representations influenced her bodily expectations, and she identified this disjunction as the most significant in her mothering experience: I expected to pop straight back into my pre-maternity size, that for me was the hugest thing actually, like you see these ladies who six weeks after they've had their baby, look as good as before sort of thing, no stretch marks or anything like and then I thought if they can do it, I can do it sort of thing and it didn't work like that. (Penelope, aged 36, mother of four) Penelope's experience was not an unusual one, with the majority of women reporting similar feelings. The findings of this study concur with the outcomes reported by a recent United Kingdom survey of 2000 women, which found that 82 per cent were unhappy with their postnatal bodies, 77 per cent were "shocked by the changes to their body", and, more than nine out of ten agreed that "celebrity mothers' dramatic weight loss 'puts immense and unwelcome pressure on ordinary mums" (O'Donohoe 9). This suggests that celebrity images, and the expectations that accompany them, are having a widespread effect in the Western world, resulting in many women experiencing a sense of loss when it comes to their bodies. They must "get their bodies back", and may experience shame over the unattainability of this goal, which appears to be readily achievable for other women. To appreciate the implications of these images, and the power relations involved, these effects need to be examined on the local, everyday level. O'Donohoe discusses the role of magazines in funding this unreal imagery, and their fixation on high-profile Yummy Mummies, describing their coverage as "hyper-hypocritical" (9-10). On one hand, they play a leading role in the proliferation, promotion and reinforcement of the Yummy Mummy ideal, and the significant pressure this discourse places on women in the wider community. Whilst on the other hand they denigrate and vilify celebrity mums who are also increasingly pressured into this performance, labelling them as "weigh too thin" (cover of Famous magazine, Jan. 2011) and "too stressed to eat" (cover of OK magazine, June 2011). Gill and Arthurs observe how: the female celebrity body is under constant surveillance, policed for being too fat, too thin, having wrinkles or 'ugly hands' … 'ordinary' women's bodies are under similar scrutiny when they participate in the growing number of reality make-over shows in which … female participants are frequently humiliated and vilified. (444) An observation by one of my participants suggests the implications of these media trends on the lives of everyday women, and suggests that everyday women are inscrutably aware of the lack of alternative discourses: It's kind of like fashionable to talk about your body and what's wrong with it, it's not really, I don't know. You don't really say, check out, like god I've got good boobs and look at me, look how good I look. It's almost like, my boobs are sagging, or my bums too big, it's never anything really positive. (Daisy, aged 36, mother of two) The "fashionable" nature of body surveillance is further supported by the vast majority of women in this study who reported such behaviour. A preoccupation with the body as a source of identity that emphasises self-surveillance, self-monitoring, and self-discipline (Gill 155) is a central component to neoliberalism, and the Yummy Mummy phenomenon. As O'Donohoe surmises, maternity now requires high maintenance (3). O'Donohoe comments on the concern this generates amongst some women regarding their weight gain, leading to some cases of infant malnutrition as a consequence of dieting whilst pregnant (9). Whilst this is an extreme example, mothering women's anxiety over body image is a widespread concern as reflected in this study. This trend towards body surveillance suggests that the type of sexualisation Attwood describes as taking place in Western cultures, is present and influential amongst the women in this study. I concur with Attwood that this trend is supplementary to the intensification of neoliberalism, in which "the individual becomes a self-regulating unit in society" (xxiii). The body as a key site for identity construction, acts as a canvas, on which the cultural trend towards increasing sexualisation, is printed, and has implications for both feminine and maternal identities. The women in this study reported high incidences of body self-surveillance, with an emphasis on the monitoring of "weight". For many women, the disjuncture between the popularised "unreal", and the reality of their postnatal bodies resulted in feelings of shock and disappointment. For Teal, positive feelings and self-esteem were connected to her weight, and she discussed how she had to restrict weighing herself to once a week, at a particular time of day, to avoid distress: I'm trying to make it that I don't go on the scales, just once and week and like in the morning, because like I go at different times and like your weight does change a little bit during the day and your oh my goodness I've put on kilo! And feel awful and then next morning you weigh yourself and go good its back. (Teal, aged 25, mother of one) According to Foucault (Sawicki, Disciplining 68), the practice of self-surveillance teaches individuals to monitor themselves, and is one of the key normative operations of biopower, a process that attaches individuals to their identities. The habitual approach to weight monitoring by many of the women in this study suggests that the Yummy Mummy discourse is becoming incorporated into the identities of everyday mothering women, as a recognisable and dominant cultural script to perform, to differing degrees, and to varying grades of consciousness. A number of participants in this study worked in the fitness industry, and whilst I expected them to be more concerned about their bodies postnatal, because of the pressures they face in their workplaces to "look the part", the education they receive about their bodies gave them a realistic idea of what individual women can achieve, and they were among the most critical of weight monitoring practices. As several feminist and poststructuralist theorists suggest, disciplinary practices, such as self-surveillance, both underscore, and contribute to, contemporary cultural definitions of femininity. From a Foucauldian perspective, a woman in this context becomes "a self-policing subject, self-committed to a relentless self-surveillance" (Hekman 275). However, although for Foucault, total liberation is impossible, some parts of social life are more vulnerable to criticism than others, and we can change particular normalising practices (165). Creating alternate mothering discourses is one way to achieve this, and some women did reflect critically on these types of self-policing behaviours. A minority of women in this study recognised their body as "different" to before they had children. Rather than agonise over these changes, they accepted them as part of where they are in their lives right now: I'm not the same person that I was then, its different, I like I just sort of feel that change is good, it's okay to be different, it's okay for me look different, it's okay for my body to kind of wear my motherhood badges that's okay I feel happy about that. So I don't want it to look exactly the same, no I don't actually. (Corinne, aged 33, mother of four) As many of the women who have been in email contact with me since their interviews have expressed, the questions I asked have prompted them to reflect more consciously on many of these issues, and for some, to have conversations with loved ones. For me, this demonstrates that this project has assisted women, and the process of taking part has elicited conversations between more women, and importantly, between women and men, about these types of media representations, and the expectations they create. In response to a growing body of research into the effects of unrealistic imagery on women, particularly young women and the increasing rates of eating disorders amongst women (see for example Hudson et al.; Taylor et al.; Treasure) in Western communities, there has been debate in a number of Western countries, including the United Kingdom, France and Australia, over whether the practice of digitally altering photos in the media, should be legislated so that media outlets are required to declare when and how images have been altered. The media has not greeted this suggestion warmly. In response to calls for legislative action Jill Wanless, an associate editor at Look magazine, suggested that "sometimes readers want hyper-reality in a way—they want to be taken out of their own situation". The justification for "perfected" images, in this case, is the inferred distinction they create between the unreal and reality. However, the responses from the everyday women involved in this study suggest that their desire is not for "hyper reality", but rather for "realness" to be represented. As Corinne explains: Where's the mother on the front page of the magazine that says I took 11 months to lose my baby weight…I hate this fantasy world, where's the reality, where's our real mums, our real women who are out there going I agonise over dropping my kid in day care everyday when they cry, I hate it. That's real. Performativity, as an inextricable aspect of hyper reality, may be ignored by those with a vested interest in media production, but the roles that discourses such as the Yummy Mummy have in proliferating and creating the expectation of these performances, is of interest to both the community and cultural theorists. Conclusion The capacity to influence current cultural, political and social debates surrounding what women should look like as mothers in contemporary Western Australian society is important to explore. Using feminist methodologies in such work provides an opportunity to unite the academic and broader communities. By disassembling the boundary between researcher and researched, it is possible to encourage mutual understanding and the recognition of mutual experience amongst researcher, participants' and the wider community. Taking part in this research has elicited conversations between women, and men concerning their expectations, and experiences of parenthood. Most importantly, the outcome of this work has reflected a desire by local everyday women for the media to include their stories in the broader presentation of motherhood. In this sense, this project has, and can further, assist women in sharing aspects of their experiences that are frequently excluded from popular media representations, and present the multiplicity of mothering experiences, and what being a "good mother" can entail. Acknowledgements I would like to sincerely thank the following for their invaluable feedback on earlier drafts of this article: Dr Kathryn Trees, Yann Toussaint, Linda Warren and the anonymous M/C Journal reviewers. References Arendell, Terry. "Conceiving and Investigating Motherhood: The Decade's Scholarship." Journal of Marriage and the Family 62.4 (2000): 1192-207. Attwood, Feona. Mainstreaming Sex: The Sexualisation of Western Culture. London: I.B. Tauris, 2009. Bloom, Leslie. "Reflections from the Field: Locked in Uneasy Sisterhood: Reflections on Feminist Methodology and Research Relations." Anthropology & Education Quarterly 28.1 (1997): 111-22. Wanless, Jill. "Curb Airbrushed Images, Keep Bodies Real." CBS News World UK, 2010. 20 Sep. 2010 ‹http://www.cbsnews.com/stories/2010/09/20/world/main6884884.shtml›. Gill, Rosalind. Gender and the Media. Cambridge: Polity P, 2007. Gill, Rosalind, and Jane Arthurs. "Editors Introduction: New Femininities?" Feminist Media Studies 6.4 (2006): 443-51. Hekman, Susan. Feminist Interpretations of Michel Foucault. University Park: Pennsylvania State UP, 1996. Heyl, Barbara Sherman. "Ethnographic Interviewing." Handbook of Ethnography. Eds. Paul Atkinson, Amanda J. Coffey, Sara Delamont, John Lofland, and Lyn H. Lofland. London: Sage, 2001. 369-83. Hudson, James I., Eva Hiripi, Harrison G. Pope Jr., and Ronald C. Kessler. "The Prevalence and Correlates of Eating Disorders in the National Comorbidity Survey Replication." Biological Psychiatry 61.3 (2007). 348-58. Jones, Sue. "Depth Interviewing." Applied Qualitative Research. Ed. Robert Walker. Ashgate, 1985. 45-56. Luff, Donna. "Dialogue across the Divides: 'Moments of Rapport' and Power in Feminist Research with Anti-Feminist Women." Sociology 33.4 (1999): 687-703. McRobbie, Angela. "The Politics of Feminist Research: Between Talk, Text and Action." Feminist Review 12 (1982): 46-57. ———. "Yummy Mummies Leave a Bad Taste for Young Women: The Cult of Celebrity Motherhood Is Deterring Couples from Having Children Early. We Need to Rethink the Nanny Culture." The Guardian 2 Mar. 2006. Oakley, Ann. "Interviewing Women: A Contradiction in Terms." Doing Feminist Research. Ed. Helen Roberts. London: Routledge and Kegan Paul, 1981. 30-61. O'Donohoe, Stephanie. "Yummy Mummies: The Clamour of Glamour in Advertising to Mothers." Advertising & Society Review 7.3 (2006): 1-18. Olesen, Virginia. "Feminisms and Qualitative Research at and into the Millennium." Handbook of Qualitative Research. Eds. Norman Denzin and Yvonna Lincoln. London: Sage, 2000. 215-55. Sawicki, Jana. Disciplining Foucault: Feminism, Power, and the Body. New York: Routledge, 1991. ———. "Feminism, Foucault, and 'Subjects' of Power and Freedom." Feminist Interpretations of Michel Foucault. Ed. Susan J. Hekman, University Park: Pennsylvania State UP, 1996. 159-210. Taylor, C. Barr, et al. "The Adverse Effect of Negative Comments about Weight and Shape for Family and Siblings on Women at High Risk for Eating Disorders." Paediatrics 118 (2006): 731-38. Treasure, Janet. "An Image Is Worth a Thousand Words of Public Health." Brazilian Journal of Psychiatry 56.1 (2007): 7-8.

“I realised some time ago that I am a showgirl. When I perform it is to show the girl, whereas some performers take the approach of caricaturing or ‘burlesquing’ the girl.” (Lola the Vamp) “Perhaps the most surprising idea of contemporary feminism is that women are female impersonators” (Tyler, 1) In recent years, femininity has been the subject of much debate in mainstream culture, as well as in feminist theory. The recent moral panic over “size zero” bodies is only the latest example of the anxieties and tensions generated by a culture in which every part of the female body is subject to endless surveillance and control. The backlash against the women’s movement of the late 20th century has seen the mainstreaming of high femininity on an unprecedented scale. The range of practices now expected of middle-class women, including cosmetic surgery, dieting, fake tanning, manicures, pedicures, and waxing (including pubic waxing) is staggering. Little wonder, then, that femininity has often been imagined as oppressive labour, as work. If women were to attempt to produce the ideal femininities promoted by women’s magazines in the UK, USA and Australia, there would be little time in the day—let alone money—for anything else. The work of femininity hence becomes the work of adapting oneself to a current set of social norms, a work of adaptation and adjustment that must remain invisible. The goal is to look natural while constantly labouring away in private to maintain the façade. Alongside this feminine ideal, a subculture has grown up that also promotes the production of an elaborately feminine identity, but in very different ways. The new burlesque is a subculture that began in club nights in London and New York, has since extended to a network of performers and fans, and has become a highly active community on the Internet as well as in offline cultural spaces. In these spaces, performers and audiences alike reproduce striptease performances, as well as vintage dress and styles. Performers draw on their own knowledge of the history of burlesque to create acts that may invoke late 19th-century vaudeville, the supper clubs of pre-war Germany, or 1950s pinups. However the audience for these performances is as likely to consist of women and gay men as the heterosexual men who comprise the traditional audience for such shows. The striptease star Dita von Teese, with her trademark jet-black hair, pale skin, red lips and tiny 16-inch corseted waist, has become the most visible symbol of the new burlesque community. However, the new burlesque “look” can be seen across a web of media sites: in film, beginning with Moulin Rouge (Baz Luhrmann, 2001), and more recently in The Notorious Bettie Paige (Mary Harron, 2005), as well as in mainstream movies like Mrs Henderson Presents (Stephen Frears, 2005); in novels (such as Louise Welsh’s The Bullet Trick); in popular music, such as the iconography of Kylie Minogue’s Showgirl tour and the stage persona of Alison Goldfrapp; and in high fashion through the work of Vivienne Westwood and Roland Mouret. Since the debut in the late 1990’s of von Teese’s most famous act, in which she dances in a giant martini glass, the new burlesque has arisen in popular culture as a counterpoint to the thin, bronzed, blonde ideal of femininity that has otherwise dominated popular culture in the West. The OED defines burlesque as “a comically exaggerated imitation, especially in a literary or dramatic work; a parody.” In this article, I want to think about the new burlesque in precisely this way: as a parody of feminine identity that, by making visible the work involved in producing feminine identity, precisely resists mainstream notions of feminine beauty. As Lola the Vamp points out in the quotation that opens this article, new burlesque is about “caricaturing or burlesquing the girl”, but also about “showing the girl”, not only in the literal sense of revealing the body at the end of the striptease performance, but in dramatising and making visible an attachment to feminine identity. For members of the new burlesque community, I want to suggest, femininity is experienced as an identity position that is lived as authentic. This makes new burlesque a potentially fruitful site in which to think through the questions of whether femininity can be adapted, and what challenges such adaptations might pose, not only for mainstream culture, but for feminist theory. As I have stated, feminist responses to mainstream femininity have emphasised that femininity is work; that is, that feminine identities do not emerge naturally from certain bodies, but rather have to be made. This is necessary in order to resist the powerful cultural discourses through which gender identities are normalised. This model sees femininity as additive, as something that is superimposed on some mystical “authentic” self which cries out to be liberated from the artificially imposed constraints of high heels, makeup and restrictive clothing. This model of femininity is summed up by Naomi Wolf’s famous statement, in The Beauty Myth, that “femininity is code for femaleness plus whatever society happens to be selling” (Wolf, 177; emphasis added). However, a potential problem with such a view of gender identity is that it tends to reproduce essentialist notions of identity. The focus on femininity as a process through which bodies are adapted to social norms suggests that there is an unmarked self that precedes adaptation. Sabina Sawhney provides a summary and critique of this position: Feminism seems to be relying on the notion that the authentic identity of woman would be revealed once the drag is removed. That is to say, when her various “clothes”—racial, ethnic, hetero/homosexual, class textured—are removed, the real, genuine woman would appear whose identity would pose no puzzles. But surely that is a dangerous assumption, for it not only prioritises certain forms of identity formation over others, but also essentialises a sexual or gendered identity as already known in advance. (5) As Sawhney suggests here, to see femininity only in terms of oppressive labour is implicitly essentialist, since it suggests the existence of a primary, authentic “femaleness”. Femininity consists of consumer “stuff” which is superimposed onto unproblematically female bodies. Sawhney is right, here, to compare femininity to drag: however, female and male femininities are read very differently in this account. Drag and cross-dressing are decried as deliberate (male) parodies of “women” (and it is interesting to note that parodies of femininity are inevitably misread as parodies of women, as though the two were the same). However, those women who engage in feminine identity practices are to be pitied, not blamed, or at least not explicitly. Femininity, the compulsion to adapt oneself to incorporate “whatever society is selling”, is articulated in terms of “social pressure”, as a miserable duty over which women have no control. As Samantha Holland argues, the danger is that women become positioned as “mindless consumers, in thrall to the power of media images” (10). Resisting the adaptations demanded by femininity thus becomes a way of resisting mindlessness, particularly through resisting excessive consumption. This anxiety about female excess is echoed in some of the press coverage of the burlesque scene. For example, an article in the British Sunday paper The Observer takes a sceptical position on some performers’ claims that their work is feminist, wondering whether the “fairy dust of irony really strips burlesque of any political dubiousness” (O’Connell, 4), while an article on a feminist Website argues that the movement “can still be interpreted as a form of exploitation of women’s bodies,” (DiNardo, 1), which rather suggests that it is the purpose of feminism to try and interpret all manifestations of femininity in this way: as if the writer is suggesting that feminism itself were a system for curbing feminine excess. This is not to deny that the new burlesque, like more mainstream forms of femininity, involves work. Indeed, a reading of online burlesque communities suggests that it is precisely the labour of femininity that is a source of pleasure. Many books and Websites associated with this movement offer lessons in stage performance; however, these real and virtual classes are not limited to those who wish to perform. In this subculture, much of the pleasure derives from a sense of community between performer and audience, a sense which derives mainly from the adaptation of a specific retro or vintage feminine identity. Miss Indigo Blue’s Academy offers courses in the more theatrical aspects of burlesque, such as stripping techniques, but also in subjects such as “makeup and wig tricks” and “walking in heels” (Miss Indigo Blue’s Academy of Burlesque). Burlesque, like cross-dressing suggests that femininity needs to be learnt: and learning femininity, in this sense, also involves unlearning whatever “one [usually restrictive] size fits all” forms of femininity are currently being sold by the fashion and beauty industries. In contrast to this normative model, the online accounts of burlesque fans and performers reveal an intense pleasure in creating and adapting new feminine identities within a subculture, through a “DIY” approach to femininity. This insistence on doing it yourself is important, since it is through the process of reclaiming vintage styles of clothing, hair and makeup that real adaptation takes place. Whereas mainstream femininity is positioned as empty consumption, and as a source of anxiety, burlesque is aligned with recycling, thrift shopping and the revival of traditional crafts such as knitting and weaving. This is most visible in magazines and Websites such as Bust magazine. This magazine, which launched in the early 1990s, was an early forerunner of the burlesque revival with its use of visual imagery taken from 1950s women’s magazines alongside pinups of the same era. The Website has been selling Bettie Page merchandise for some time alongside its popular Stitch n’ Bitch knitting books, and also hosts discussions on feminism, craft and “kitsch and make-up” (Bust). In the accounts cited above, femininity is clearly not imagined through an imperative to conform to social norms: instead, the practice of recovering and re-creating vintage looks is constructed as a pleasurable leisure activity that brings with it a sense of achievement and of engagement with a wider community. The appeal of burlesque, therefore, is not limited to a fetishistic preference for the trappings of burlesque or retro femininity: it is also defined by what it is not. Online discussions reveal a sense of dissatisfaction with more culturally visible forms of femininity promoted by celebrity culture and women’s magazines. Particular irritants include the low-maintenance look, skinniness, lip gloss, highlighted and layered hair, fake tan and, perhaps unexpectedly, jeans. These are seen as emblematic of precisely stereotypical and homogenising notions of feminine identity, as one post points out: “Dita VT particularly stands out in this day and age where it seems that the mysterious Blondifier and her evil twin, the Creosoter, get to every female celeb at some point.” (Bust Lounge, posted on Oct 17 2006, 3.32 am) Another reason for the appeal of New Burlesque is that it does not privilege slenderness: as another post says “i think i like that the women have natural bodies in some way” (Bust Lounge, posted on Oct 8 2006, 7:34 pm), and it is clear that the labour associated with this form of femininity consists of adorning the body for display in a way that opposes the dominant model of constructing “natural” beauty through invisible forms of labour. Burlesque performers might therefore be seen as feminist theorists, whose construction of a feminine image against normative forms of femininity dramatises precisely those issues of embodiment and identity that concern feminist theory. This open display and celebration of feminine identity practices, for example, makes visible Elizabeth Grosz’s argument, in Volatile Bodies, that all bodies are inscribed with culture, even when they are naked. A good example of this is the British performer Immodesty Blaize, who has been celebrated in the British press for presenting an ideal of beauty that challenges the cultural predominance of size zero bodies: a press cutting on her Website shows her appearance on the cover of the Sunday Times Style magazine for 23 April 2006, under the heading “More Is More: One Girl’s Sexy Journey as a Size 18” (Immodesty Blaize). However, this is not to suggest that her version of femininity is simply concerned with rejecting practices such as diet and exercise: alongside the press images of Immodesty in ornate stage costumes, there is also an account of the rigorous training her act involves. In other words, the practices involved in constructing this version of femininity entail bringing together accounts of multiple identity practices, often in surprising ways that resist conforming to any single ideal of femininity: while both the athletic body and the sexualised size 18 body may both be seen as sites of resistance to the culturally dominant slender body, it is unusual for one performer’s image to draw on both simultaneously as Blaize does. This dramatisation of the work involved in shaping the body can also be seen in the use of corsets by performers like von Teese, whose extremely tiny waist is a key aspect of her image. Although this may be read on one hand as a performance of conformity to feminine ideals of slimness, the public flaunting of the corset (which is after all a garment originally designed to be concealed beneath clothing) again makes visible the practices and technologies through which femininity is constructed. The DIY approach to femininity is central to the imperative to resist incorporation by mainstream culture. Dita von Teese makes this point in a press interview, in which she stresses the impossibility of working with stylists: “the one time I hired a stylist, they picked up a pair of my 1940’s shoes and said, these would look really cute with jeans. I immediately said, you’re out of here” (West, 10). With its constant dramatisation and adaptation of femininity, then, I would argue that burlesque precisely carries out the work which Grosz says is imperative for feminist theory, of problematising the notion of the body as a “blank, passive page” (156). If some feminist readings of femininity have failed to account for the multiplicity and diversity of feminine identity performances, it is perhaps surprising that this is also true of feminist research that has engaged with queer theory, especially theories of drag. As Carol-Ann Tyler notes, feminist critiques of drag performances have tended to read drag performances as a hostile parody of women themselves (60). I would argue that this view of drag as a parody of women is problematic, in that it reproduces an essentialist model in which women and femininity are one and the same. What I want to suggest is that it is possible to read drag in continuum with other performances, such as burlesque, as an often affectionate parody of femininity; one which allows female as well as male performers to think through the complex and often contradictory pleasures and anxieties that are at stake in performing feminine identities. In practice, some accounts of burlesque do see burlesque as a kind of drag performance, but they reveal that anxiety is not alleviated but heightened when the drag performer is biologically female. While drag is performed by male bodies, and hence potentially from a position of power, a female performer is held to be both complicit with patriarchal power, and herself powerless: the performance thus emanates from a doubly powerless position. Because femininity is imagined as a property of “women”, to parody femininity is to parody oneself and is hence open to being read as a performance of self-hatred. At best, the performer is herself held to occupy a position of middle class privilege, and hence to have access to what O’Connell, in the Observer article, calls “the fairy dust of irony” (4). For O’Connell however the performer uses this privilege to celebrate a normative, “politically dubious” form of femininity. In this reading, which positions itself as feminist, any potential for irony is lost, and burlesque is seen as unproblematically reproducing an oppressive model of feminine identities and roles. The Websites I have cited are aware of the potential power of burlesque as parody, but as a parody of femininity which attempts to work with the tensions inherent in feminine identity: its pleasures as well as its constraints and absurdities. Such a thinking-through of femininity is not the sole preserve of the male drag performer. Indeed, my current research on drag is engaged with the work of self-proclaimed female drag queens, also known as “bio queens” or “faux queens”: recently, Ana Matronic of the Scissor Sisters has spoken of her early experiences as a performer in a San Francisco drag show, where there is an annual faux-queen beauty pageant (Barber, 1). I would argue that there is a continuity between these performers and participants in the burlesque scene who may be conflicted about their relationship to “feminism” but are highly aware of the possibilities offered by this sense of parody, which is often articulated through an invocation of queer politics. Queer politics is often explicitly on the agenda in burlesque performance spaces; however the term “queer” is used not only to refer to performances that take place in queer spaces or for a lesbian audience, but to the more general way in which the very idea of women parodying femininity works to queer both feminist and popular notions of femininity that equate it with passivity, with false consciousness. While burlesque does celebrate extreme femininities, it does so in a highly self-aware and parodic manner which works to critique and denaturalise more normalised forms of femininity. It does so partly by engaging with a queer agenda (for example Miss Indigo’s Academy of Burlesque hosts lectures on queer politics and feminism alongside makeup classes and stripping lessons). New Burlesque stage performers use 19th- and 20th-century ideals of femininity to parody contemporary feminine ideals, and this satirical element is carried through in the audience and in the wider community. In burlesque, femininity is reclaimed as an identity precisely through aligning an excessive form of femininity with feminism and queer theory. This model of burlesque as queer parody of femininity draws out the connections as well as the discontinuities between male and female “alternative” femininities, a potentially powerful connectivity that is suggested by Judith Butler’s work and that disrupts the notion that femininity is always imposed on women through consumer culture. It is possible, then, to open up Butler’s writing on drag in order to make explicit this continuity between male and female parodies of femininity. Writing of the need to distinguish between truly subversive parody, and that which is likely to be incorporated, Butler explains: Parody by itself is not subversive, and there must be a way to understand what makes certain kinds of parodic repetitions effectively disruptive, truly troubling, and which repetitions become domesticated and recirculated as instruments of cultural hegemony (Gender Trouble, 177). The problem with this is that femininity, as performed by biologically female subjects, is still positioned as other, as that which presents itself as natural, but is destabilised by more subversive gender performances, such as male drag, that reveal it as performative. The moment of judgment, when we as queer theorists decide which performances are truly subversive and which are not, is divisive: having drawn out the continuity between male and female performances of femininity, it reinstates the dualistic order in which women are positioned as lacking agency. If a practice is ultimately incorporated by consumer culture, this does not necessarily mean that it is not troubling or politically interesting. Such a reductive and pessimistic reading produces “the popular” as a bad object in a way that reproduces precisely the hegemonic discourse it is trying to disrupt. In this model, very few practices, including drag, could be held to be subversive at all. What is missing from Butler’s account is an awareness of the complex and multiple forms of pleasure and desire that characterise women’s attachment to feminine identities. I would argue that she opens up a potentially exhilarating possibility that has significant implications for feminist understandings of feminine identity in that it allows for an understanding of the ways in which female performers actively construct, rework and critique feminine identity, but that this possibility is closed down through the implication that only male drag performances are “truly troubling” (Gender Trouble, 177). By allowing female performers to ”parody the girl”, I am suggesting that burlesque potentially allows for an understanding in which female performances of femininity may, like drag, also be “truly troubling” (Butler, Gender Trouble, 177). Like drag, they require the audience both to reflect on the ways in which femininity is performatively constructed within the constraints of a normative, gendered culture, but also do justice to the extent to which feminine identity may be experienced as a source of pleasure. Striptease, in which feminine identity is constructed precisely through painstakingly creating a look whose layers are then stripped away in a stylised performance of feminine gesture, powerfully dramatises the historic tension between feminism and femininity. Indeed, the labour involved in burlesque performances can be adapted and adopted as feminist theoretical performances that speak back to hegemonic ideals of beauty, to feminism, and to queer theory. References Barber, Lynn. “Life’s a Drag”. The Guardian 26 Nov. 2006, 10. Bust Lounge. 8 Mar. 2007 http://www.bust.com/>. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. London and New York: Routledge, 1990. ———. Undoing Gender. London and New York: Routledge, 2004 DiNardo, Kelly. “Burlesque Comeback Tries to Dance with Feminism.” Women’s E-News 2004. 1 Mar. 2007 http://www.womensenews.org/article.cfm/dyn/aid/2099>. Dita von Teese. 8 Mar. 2007 http://www.dita.net>. Grosz, Elizabeth. Volatile Bodies: Towards a New Corporeal Feminism. Bloomington: Indiana UP, 1994. Holland, Samantha. Alternative Femininities. London: Berg, 2004. Immodesty Blaize. 10 Apr. 2007 http://www.immodestyblaize.com/collage2.html>. Lola the Vamp. 8 Mar. 2006 http://www.lolathevamp.net>. Miss Indigo Blue’s Academy of Burlesque. 8 Mar. 2007 http://www.academyofburlesque.com>. O’Connell, Dee. “Tassels Will Be Worn.” The Observer 28 Sep. 2003, 4. Sawhney, Sabina. “Feminism and Hybridity Round Table.” Surfaces 7 (2006): 113. Tyler, Carol Ann. Female Impersonation. London and New York: Routledge, 2003. West, Naomi. “Art of the Teese.” Daily Telegraph online edition 6 Mar. 2006: 10. 1 Mar. 2007 http://www.telegraph.co.uk/fashion/main.jhtml?xml=/fashion/2006/03/06/efdita04.xml>. Wolf, Naomi. The Beauty Myth. London: Chatto and Windus, 1990. Citation reference for this article MLA Style Ferreday, Debra. "Adapting Femininities: The New Burlesque." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/12-ferreday.php>. APA Style Ferreday, D. (May 2007) "Adapting Femininities: The New Burlesque," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/12-ferreday.php>.

Introduction There are increasing levels of concern around the health of citizens within Western neo-liberal democracies like Britain, the USA, and Australia. These governmental concerns are made manifest by discursive mechanisms that seek to both survey and regulate the lifestyles, eating habits and exercise regimes of citizens. Such governmental imperatives have historically targeted schools with school food ranking high in the priorities of public health policy, particularly in regards to the fears around childhood obesity and related health problems (Gard and Wright, Rich, Vander Schee and Gard). However, more recently such concerns have spilled into the wider public arena in Australia where fears of an “obesity epidemic”, the revision of the “food pyramid” and recent calls that make it mandatory for fast food companies to display calorie/kilojoule content on menu boards illustrate the increasing levels to which governments seek to intervene regarding the health of citizens. Not only does the attempt to produce a healthy citizen take place within policy imperatives but also within popular culture. Here, we see healthy eating and diet shows becoming international brands. For example The Biggest Loser, where obese contestants embark on a televised diet and exercise regime, competing to lose the most weight in the shortest time, and also Jamie Oliver’s attempt to change the eating habits of the British has crossed the Atlantic to the USA. There is a sense of urgency embedded in many such discursive practices and an implication that, as a society, we need a “lifestyle change” to make us healthier. Reflecting this urgency is an increase in cookbooks that not only provide recipe ideas but also seek to intervene into our day-to-day conduct. The content of such books moves beyond ways of putting a meal together and into the territory of self-surveillance and regulation. In this way, then, cookbooks can be read as pedagogical. This particular brand of pedagogy, moreover, feeds into wider socio-political discourses around the governance of the self within our late modern context. This chapter will argue that many contemporary cookbooks attempt to enact governmental imperatives around health and nutrition and that, by doing this, they become pedagogical devices that translate governmental devices into the homes of their readers. By using a post-Foucauldian analytical framework, we will illustrate the ways in which Jane Kennedy’s cookbook, Fabulous Food, Minus the Boombah mobilises discourses of health, gender, risk, and food in a rich (but 99 per cent fat free) mix. Analytical Framework This paper draws upon Foucauldian governmentality studies and the ways in which discursive practices are enacted in order to position and offer an analysis of cookbooks as pedagogical devices that translate the work of government into readers’ homes. Foucault defined government as “the conduct of conduct” arguing that government relates to the “way in which the conduct of individuals or groups might be directed: the government of children, of souls, of communities, of families, of the sick […] to govern in this sense, is to structure the possible field of action” (220–1). Foucault argued that attempts to shape conduct occur within socio-historical moments and contexts (Gordon) and they are, therefore, subject to change. Within this article, we seek to understand the ways in which governmental imperatives around food and lifestyle are taken up by cookbook authors and the implications of this in terms of public pedagogies within our late-modern context. Public health is located within a myriad of governmental sites that attempt to regulate people’s lives. In deciphering how government sites operate as mechanisms of regulation in modern times, Miller and Rose suggest that we require: An investigation not merely of grand political schemata, or economic ambitions, or even of general slogans such as ‘state control’, nationalization, the free market, and the like, but of apparently humble and mundane mechanisms which appear to make it possible to govern […] the list is heterogeneous and is, in principle unlimited (32). Such investigations can be grouped under the umbrella of “governmentality studies”. To grasp “governmentality” is complex and requires an analytics that can span history, and reach across macro and micro contours to trace various linkages and connections forged between governmental rationalities, techniques and practices (Leahy, Assembling). For the purposes of this paper we will be offering an analytic of the humble cookbook and its potential role in the governance of the self, a technique vital to contemporary neo-liberal modes of governance. Neo-liberalism produces particular versions of health, citizenship, and individualism. Within neo-liberal governmental assemblages, public health policy operates as a key site for enacting what Miller and Rose label “government at a distance” (32) by working to facilitate the shifting of responsibility for the health of citizens from the State to the individual. The individual, however, does not instinctively know how to incorporate governmental hopes for a healthy lifestyle into their lives—it is here that the cookbook, as pedagogical device, is vital because it translates macro governmental hopes to the micro level, that is, into the kitchens of citizens. Both risk and expertise also work alongside neo-liberalism in the assemblage to render the problems of government both thinkable and calculable, and in turn, practical. We will see in the next section how Jane Kennedy, the author of Fabulous Food, Minus the Boombah deploys both popular notions of risk alongside her own experience and expertise (her lifelong “battle” with weight) in order to fold the (female) reader in to Kennedy’s particular approach to healthy eating. Pedagogy could be described as part of the “doing” of education, the means through which ideas are transmitted through and between learners and teachers. Like contemporary neo-liberal government, contemporary pedagogies can be understood as assemblages; that is, they are made up of competing, intersecting, contradictory and multiple elements. Pedagogy is a technical device through which these elements are translated and transmitted to its audience, be that school pupils, students, adult learners or citizens. Elizabeth Ellsworth argues that pedagogy is a “social relationship [that] is very close in. It gets right in there in your brain, your body, your heart, your sense of self, of the world, of others, and of possibilities and impossibilities in all those realms” (6). In other words, effective pedagogical devices are necessary contact points between ideas and the self; they inform relationships between the macro and the micro, thus shaping both the individual and the collective. The remainder of this paper will demonstrate how Fabulous Food, Minus the Boombah deploys popular discursive trends regarding food, health, gender, and citizenship as pedagogic tools that aim to cultivate a healthier subject. Food That Makes Your Arse Huge? “Boombah: (adj). Word to describe food that makes your arse huge” (Kennedy 5). Lifestyle, diet, and health books can be seen to have saturated the market over recent years in an almost epidemic-like way. This phenomenon both mirrors and informs governmental imperatives around the health and lifestyle of citizens. A recent visit to our local bookshop revealed that there appears to be a polarisation of texts relating to food, health, and wellbeing. Books that explicitly relate to health and health issues can be found in one section, and cookbooks in another. However, there are an increasing number of texts that blend the two genres and offer diet, health, and lifestyle tips along with recipe ideas and cooking techniques. Within this blend there is also variation; there are texts that offer a scientific exposition of food, nutrition, and diet, such as Ricotti and Connelly’s The Healthy Family Cookbook, a text which offers a twelve-chapter overview of current theories and practices around health and nutrition before offering recipe ideas designed to help the reader achieve and maintain a “healthy weight” (page). In addition there are also texts that fold particular approaches to weight-loss, such as Jenny Craig or The Biggest Loser, together with cooking. The input of celebrity chef Jamie Oliver to the mix has been well documented (see Pike; Leahy, Disgusting; Rawlins; Zimmet and James) and the influence of Oliver’s approachable style of writing can be found within many contemporary cookbooks, including Fabulous Food, Minus the Boombah, a text within which Jane Kennedy blends together cooking, health, and lifestyle into a paste that is bound together with a Bridget Jones-style confessional commentary on her own, personal struggles with weight and dieting. For example: “I love food. Always have. Unfortunately I love it about one kilo per month more than I should. Perhaps I should put it another way: the food I love seems to have more calories than I need over a month and a year and a lifetime … it adds up! Yep, I get FAT” (xi). This style can be read as a way of “getting right in” (Ellsworth 6), to enfold the reader into Kennedy’s world. It also may provide readers, particularly, as we will discus below, middle-class Anglo-Australian females, with a sense of solidarity in a struggle against weight gain. Kennedy often deploys the spectre of designer jeans that no longer fit as a way to further entice the reader to embrace the healthy eating regime promoted by the book. Kennedy draws upon notions of horror and disgust at the fat body (her own but, implicitly, also the readers). Horror and disgust are potent pedagogical devices that are often put to work in educational and health promotion settings in an attempt to lure people and their bodies into action (Leahy, Disgusting; Lupton). In many ways Kennedy’s cookbook can be read as public pedagogy—its aim is to teach the reader how to cook food that is “packed full of flavour but minus the boombah” (xxvii), or minus that which causes bodily harm and/or disgusting transformation. In order to achieve this, Kennedy deploys “expert knowledge” as she takes the reader on a journey through her own struggles with weight, fad diets and failure to epiphany—which for Kennedy was a personal trainer and a new approach to cooking, eating and lifestyle and her book is peppered with self help-style narrative devices, for example: The key to successful weight loss with this style of eating is to be organised. Disorganisation is the open door though which every second excuse (and French fry) slips. “Oh no, the stores are closed. Oh well, better order takeaway”. Don’t do it. There. Is. No. Good. Takeaway. Food. (Kennedy xxii, emphasis original). Several mechanisms are being deployed here. Firstly, she is inadvertently constructing the perfect western neo-liberal subject: organised, self-contained, disciplined, and able to make informed rational decisions around food type and purchase. Secondly, by predicting and addressing the reader’s perceived resistance, Kennedy reveals her moralistic overtones. We see the judgment of a rational, ordered subject versus a messy, disorganised, immoral (and fat) subject in a piling up of connotations that lead to the same conclusion: this healthy way is the best healthy way. Kennedy’s personal narrative within the text follows a trajectory of “awareness, struggle and epiphany” (Plummer 131) that often characterise the confessional stories that we tell about ourselves: “I ended up […] back at square one: overweight, staring down a year of chicken consommé dinners […] I finally grew a brain and motivated myself to see a personal trainer” (Kennedy xiv). Kennedy’s narrative is a familiar one and a Foucauldian reading of confession enables us to take the position that confession is imperative to the contemporary construction of self. Modes of confession have become increasingly diverse and reified through the era of reality TV, social networking and the “personal trauma” sub-genre of autobiographical memoir (Brien). Kennedy’s book deploys confession as a narrative device that, like her moralising about the dangers of take away food, attempts to fold the reader into her world and, as a result, reifies her approach to healthy eating and lifestyle. We can do it because she has done it. Through the confessional she is not only able to tell of her love of food but also of her understanding of it as risky. This can be outlined by drawing upon an extract we looked at earlier: “the food I love seems to have more calories than I need and over a month and a year and lifetime it adds up! Yep, I get FAT” (xi). Risk and expertise work alongside neo-liberal individualism in the governmental assemblage to render the problems of government both thinkable and calculable, and in turn, practical. Kennedy deploys both risk and expert knowledge in order to successfully demonstrate her understanding of healthy eating as a battleground that see her appetite and tastes at war with her waistline. She guides us through the various fad diets she has tried, through gaining weight while being pregnant, and the anguish of seeing her image reflected back at her through her career in television, until her epiphany: the realisation that in order to achieve and maintain a healthy weight a balance of healthy eating and exercise is required. These are convincing pedagogical strategies that encourage the reader to apply modes of self-governance that reflect wider, macro hopes for the healthy neo-liberal citizen and Kennedy’s status as TV celebrity within Australia. Her use of the colloquial term “boombah” makes hers a uniquely Australian endeavour. It is worth noting here that Kennedy’s brand of Australian humour and use of colloquialism is deeply entrenched with raced and classed assumptions about desirable body size and the economic and cultural capital of its readers. It is middle class white Anglo-Australian women who are being targeted by this book and, arguably, by this brand of public pedagogy. As with many contemporary cultural texts about cooking, Kennedy’s book promotes an: “upper-middle-class lifestyle enhanced by the appropriation of goods and commodities. All the while, real issues surrounding the life-sustaining reality of food are ignored” (Wright and Sandlin 406). The lifestyle promoted by Kennedy is classed in this way. She writes of Bettina Liano jeans, of working on the popular Australian television show A Current Affair, of drinking wine, and using goats cheese and kaffir lime leaves in her cooking. Her levels of economic and cultural capital are obvious, and this sets the scene well for the type of reader she is attempting to educate. Although she does not explicitly mention gender, her “Bridget Jones”-style confessions of dietary failure (though Kennedy succeeds where Bridget would inevitably continue to fail), the mention of cooking both children’s and adult’s dinners, and the illustrations throughout the book that feature children’s toys implicitly position her as a “typical modern woman” with a career and a family to boot. In terms of pedagogy, Kennedy’s book reflects contemporary governmental discourse around health, food and wellbeing. It is designed “to shape with some degree of deliberation aspects of our behaviour according to particular sets of norms and for a variety of ends” (Dean 18). It reflects government fears around obesity, portion size, calorific content, and body shape. Pike and Leahy argue that food pedagogies provide government, and in this case the individual, with opportunities to shape, sculpt, mobilise, and work through the food choices, desires and aspirations, needs, wants, and lifestyles of parents, families, and children. The explicit intention of food pedagogies is to enlist the public into a process of “governmental self formation”: that is, “the ways in which various authorities and agencies seek to shape the conduct, aspirations, needs, desires and capacities of specified political and social categories, to enlist them in particular strategies and to seek definite goals” (Dean 563). Fabulous Food, Minus the Boombah then uses confession as a springboard to enlisting its readers into a healthier lifestyle and, more importantly, a healthier, risk aversive relationship with food. It individualises this struggle, and, like all good neo-liberal subjects, presents a healthy diet as an individual struggle: This way of cooking and eating works for me […] I feel much healthier and happier and I’ve got a lot more energy […] These recipes have to be better for you than chowing down a creepy bowl of 2 minute noodles and an entire pack of Tim Tams (yes, it’s time to let go). Be disciplined, even if you’ve struggled before. And if you really can’t live without your nightly routine of creamy pasta […] then bung this book back on the shelf. But stop whingeing about your huge arse (xix). This passage illustrates Kennedy’s pedagogy well, particularly the way in which her pedagogy is infused with neo-liberal discursive techniques. She positions herself as expert by stating that her way of cooking “works for me” as well as by deploying phrases like “I feel” and “I’ve got”. She then expertly shifts the reader’s focus from herself to the governance of the self by stating that it is up to the individual to be self-disciplined. Her pedagogy is littered with risk discourse as she informs us that you can continue to eat as you wish, but that there are consequences (a “huge arse”). This particular brand of risk discourse is gendered, as it is arguably mostly women who worry about the size of this part of their anatomy. One of the greatest contradictions of a neo-liberal approach to governance is that at the same time as promoting individual responsibility, there is also a strong emphasis on the collective. Kennedy reflects this throughout the book, as the above passage suggests. Her introductory section acts as a guide for the reader, who—once enfolded into Kennedy’s approach—she lets make their own way with encouragement. This is manifest in her final statements, “So let’s say goodbye to boombah. Go for it! And enjoy!” (xxvii). As pedagogy, then, Fabulous Food, Minus the Boombah attempts to cultivate and shape the reader’s choices around food by providing a practical means for transforming not only the reader’s food practices but also her image and self-esteem. This is achieved by the author’s supplement of supplying expert information, cooking skills, guidance, and incitement. Let’s Say Goodbye to Boombah? This paper has demonstrated how the contemporary cookbook can be read as pedagogy. In some ways the humble cookbook has always been pedagogical; seeking to teach the reader to make something that they previously did not, presumably, know how to, as well as providing cooking techniques and advice on the most suitable produce to use in particular recipes. However, in the contemporary moment, the cookbook arguably increasingly acts as a translation mechanism for governmental imperatives around food, health, and wellbeing. We have taken one cookbook amongst many as an illustration of our thesis. Jane Kennedy’s Fabulous Food Minus the Boombah is an Australian example of the neo-liberal project that lies at the heart of contemporary modes of governance of the population, but also, and more importantly, governance of the self. At the very heart of neo-liberalism is an imagined subject. That is, neo-liberalism needs and wants citizens to be autonomous, health seeking, enterprising, rational, choice-making individuals. The contemporary cookbook, it has been argued, can assist the individual in the production of a healthier-eating self. However, the more complex and intersecting aspects of selfhood—aspects such as socio-economic status, gender, location and ethnicity—are often absent from the construction of the healthy individual promoted by the contemporary cookbook. Above all, this paper has sought to problematise some of the dominant discourse around food, health, and wellbeing that can be found on the pages of the modern-day cookbook. 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Pike, Jo, and Leahy, Deana. “School Food and the Pedagogies of Parenting”. Australian Journal of Adult Learning 52.3 (2012): 434–59.Plummer, Ken. Telling Sexual Stories. London: Routledge, 1995. Rawlins, Emma. “Citizenship, Health Education and the Obesity Crisis”. ACME: An International E-Journal for Critical Geographies 7 (2006). 18 Apr. 2013. ‹http://www.acme-journal.org›. Rich, Emma. (2010b). “Obesity Assemblages and Surveillance in Schools” International Journal of Qualitative Studies in Education 23 (2010): 803–21. Ricotti, Henry, and Connelly, Vincent. The Healthy Family Cookbook. New York: W.W. Norton, 2004. Vander Schee, Carol, and Michael Gard. “Editorial: Politics, Pedagogy and Practice in School Health Policy”. Policy Futures in Education 9 (2011): 307–14. Wright, Robin Redman, and Jennifer A. Sandlin. “You Are What You Eat!?: Television Cooking Shows, Consumption, and Lifestyle Practices as Adult Learning”. Honoring Our Past, Embracing Our Future: Proceedings of the 50th Annual Adult Education Research Conference. 2009: 402-407. 18 Apr. 2013. ‹http://digitalcommons.nl.edu/ace_aerc/1›. Zimmet, Paul Z., and James, Phillip W.T. “The Unstoppable Australian Obesity and Diabetes Juggernaut: What Should Politicians Do?”. Medical Journal of Australia 185 (2008): 187–8.

This article is concerned with dance as an embodied form of collective remembering in the Andean department of Ayacucho in Peru. Andean dance and fiesta are inextricably linked with notions of identity, cultural heritage and history. Rather than being simply aesthetic —steps to music or a series of movements — dance is readable as being a deeper embodiment of the broader struggles and concerns of a people. As anthropologist Zoila Mendoza writes, in post-colonial countries such as those in Africa and Latin America, dance is and was a means “through which people contested, domesticated and reworked signs of domination in their society” (39). Andean dance has long been a space of contestation and resistance (Abercrombie; Bigenho; Isbell; Mendoza; Stern). It also functions as a repository, a dynamic archive which holds and tells the collective narrative of a cultural time and space. As Jane Cowan observes “dance is much more than knowing the steps; it involves both social knowledge and social power” (xii). In cultures where the written word has not played a central role in the construction and transmission of knowledge, dance is a particularly rich resource for understanding. “Embodied practice, along with and bound up with other cultural practices, offers a way of knowing” (Taylor 3). This is certainly true in the Andes of Peru where dance, music and fiesta are central to social, cultural, economic and political life. This article combines the areas of cultural memory with aspects of dance anthropology in a bid to reveal what is often unspoken and discover new ways of accessing and understanding non-verbal forms of memory through the embodied medium of dance. In societies where dance is integral to daily life the dance becomes an important resource for a deeper understanding of social and cultural memory. However, this characteristic of the dance has been largely overlooked in the field of memory studies. Paul Connerton writes, “… that there is an aspect of social memory which has been greatly ignored but is absolutely essential: bodily social memory” (382). I am interested in the role of dance as a site memory because as a dancer I am acutely aware of embodied memory and of the importance of dance as a narrative mode, not only for the dancer but also for the spectator. This article explores the case study of rural carnival performed in the city of Huamanga, in the Andean department of Ayacucho and includes interviews I conducted with rural campesinos (this literally translates as people from the country, however, it is a complex term imbedded with notions of class and race) between June 2009 and March 2010. Through examining the transformative effect of what I call the chorography of place, I argue that rural campesinos embody the memory of place, dancing that place into being in the urban setting as a means of remembering and maintaining connection to their homeland and salvaging cultural heritage.The department of Ayacucho is located in the South-Central Andes of Peru. The majority of the population are Quechua-speaking campesinos many of whom live in extreme poverty. Nestled in a cradle of mountains at 2,700 meters above sea level is the capital city of the same name. However, residents prefer the pre-revolutionary name of Huamanga. This is largely due to the fact that the word Ayacucho is a combination of two Quechua words Aya and Kucho which translate as Corner of the Dead. Given the recent history of the department it is not surprising that residents refer to their city as Huamanga instead of Ayacucho. Since 1980 the department of Ayacucho has become known as the birthplace of Sendero Luminoso (Shining Path) and the ensuing 20 years of political violence between Sendero and counter insurgency forces. In 2000, the interim government convened the Peruvian Truth and Reconciliation Commission (TRC – CVR Spanish). In 2003, the TRC released its report which found that over 69,000 people were killed or disappeared during the conflict and hundreds of thousands more were forced to leave their homes (CVR). Those most affected by the violence and human rights abuses were predominantly from the rural population of the central-southern Andes (CVR). Following the release of the TRC Report the department of Ayacucho has become a centre for memory studies investigations and commemorative ceremonies. Whilst there are many traditional arts and creative expressions which commemorate or depict some aspect of the violence, dance is not used it this way. Rather, I contend that the dance is being salvaged as a means of remembering and connecting to place. Migration Brings ChangeAs a direct result of the political violence, the city of Huamanga experienced a large influx of people from the surrounding rural areas, who moved to the city in search of relative safety. Rapid forced migration from the country to the city made integration very difficult due to the sheer volume of displaced populations (Coronel 2). As a result of the internal conflict approximately 450 rural communities in the southern-central Andes were either abandoned or destroyed; 300 of these were in the department of Ayacucho. As a result, Huamanga experienced an enormous influx of rural migrants. In fact, according to the United Nations International Human Rights Instruments, 30 per cent of all people displaced by the violence moved to Ayacucho (par. 39). As campesinos moved to the city in search of safety they formed new neighbourhoods on the outskirts of the city. Although many are now settled in Huamanga, holding professional positions, working in restaurants, running stalls, or owning shops, most maintain strong links to their community of origin. The ways in which individuals sustain connection to their homelands are many and varied. However, dance and fiesta play a central role in maintaining connection.During the years of violence, Sendero Luminoso actively prohibited the celebration of traditional ceremonies and festivals which they considered to be “archaic superstition” (Garcia 40). Reprisals for defying Sendero Luminoso directives were brutal; as a result many rural inhabitants restricted their ritual practices for fear of the tuta puriqkuna or literally, night walkers (Ritter 27). This caused a sharp decline in ritual custom during the conflict (27).As a result, many Ayacuchano campesinos feel they have been robbed of their cultural heritage and identity. There is now a conscious effort to rescatar y recorder or to salvage and remember what was been taken from them, or, in the words of Ruben Romani, a dance teacher from Huanta, “to salvage what was killed during the difficult years.”Los Carnavales Ayacuchanos Whilst carnival is celebrated in many parts of the world, the mention of carnival often evokes images of scantily clad Brazilians dancing to the samba rhythms in the streets of Rio de Janeiro, or visions of elaborate floats and extravagant costumes. None of these are to be found in Huamanga. Rather, the carnival dances celebrated by campesinos in Huamanga are not celebrations of ‘the now’ or for the benefit of tourists, but rather they are embodiments of the memory of a lost place. During carnival, that lost or left homeland is danced into being in the urban setting as a means of maintaining a connection to the homeland and of salvaging cultural heritage.In the Andes, carnival coincides with the first harvest and is associated with fertility and giving thanks. It is considered a time of joy and to be a great leveller. In Huamanga carnival is one of the most anticipated fiestas of the year. As I was told many times “carnival is for everyone” and “we all participate.” From the old to the very young, the rich and poor, men and women all participate in carnival."We all participate." Carnavales Rurales (rural carnival) is celebrated each Sunday during the three weeks leading up to the official time of carnival before Lent. Campesinos from the same rural communities, join together to form comparsas, or groups. Those who participate identify as campesinos; even though many participants have lived in the city for more than 20 years. Some of the younger participants were born in the city. Whilst some campesinos, displaced by the violence, are now returning to their communities, many more have chosen to remain in Huamanga. One such person is Rómulo Canales Bautista. Rómulo dances with the comparsa Claveles de Vinchos.Rómulo Bautista dancing the carnival of VinchosOriginally from Vinchos, Rómulo moved to Huamanga in search of safety when he was a boy after his father was killed. Like many who participate in rural carnival, Rómulo has lived in Huamanga for a many years and for the most part he lives a very urban existence. He completed his studies at the university and works as a professional with no plans to return permanently to Vinchos. However, Rómulo considers himself to be campesino, stating “I am campesino. I identify myself as I am.” Rómulo laughed as he explained “I was not born dancing.” Since moving to Huamanga, Rómulo learned the carnival dance of Vinchos as a means of feeling a connection to his place of origin. He now participates in rural carnival each year and is the captain of his comparsa. For Rómulo, carnival is his cultural inheritance and that which connects him to his homeland. Living and working in the urban setting whilst maintaining strong links to their homelands through the embodied expressions of fiesta, migrants like Rómulo negotiate and move between an urbanised mestizo identity and a rural campesino identity. However, for rural migrants living in Huamanga, it is campesino identity which holds greater importance during carnival. This is because carnival allows participants to feel a visceral connection to both land and ancestry. As Gerardo Muñoz, a sixty-seven year old migrant from Chilcas explained “We want to make our culture live again, it is our patrimony, it is what our grandfathers have left us of their wisdom and how it used to be. This is what we cultivate through our carnival.”The Plaza TransformedComparsa from Huanta enter the PlazaEach Sunday during the three weeks leading up to the official time of carnival the central Plaza is transformed by the dance, music and song of up to seventy comparsas participating in Carnavales Rurales. Rural Carnival has a transformative effect not only on participants but also on the wider urban population. At this time campesinos, who are generally marginalised, discounted or actively discriminated against, briefly hold a place of power and respect. For a few hours each Sunday they are treated as masters of an ancient art. It is no easy task to conjure the dynamic sensory world of dance in words. As Deidre Sklar questions, “how is the ineffable to be made available in words? How shall I draw out the effects of dancing? Imperfectly, and slowly, bit by bit, building fragments of sensation and association so that its pieces lock in with your sensory memories like a jigsaw puzzle” (17).Recalling the DanceAs comparsas arrive in the Plaza there is creative chaos and the atmosphere hums with excitement as more and more comparsas gather for the pasecalle or parade. At the corner of the plaza, the deafening crack of fire works, accompanied by the sounds of music and the blasting of whistles announce the impending arrival of another comparsa. They are Los Hijos de Chilcas from Chilcas in La Mar in the north-east of the department. They proudly dance and sing their way into the Plaza – bodies strong, their movements powerful yet fluid. Their heads are lifted to greet the crowd, their chests wide and open, eyes bright with pride. Led by the capitán, the dancers form two long lines in pairs the men at the front, followed by the women. All the men carry warakas, long whips of plaited leather which they crack in the air as they dance. These are ancient weapons which are later used in a ritual battle. They dance in a swinging stepping motion that swerves and snakes, winds and weaves along the road. At various intervals the two lines open out, doubling back on themselves creating two semicircles. The men wear frontales, pieces of material which hang down the front of the legs, attached with long brightly coloured ribbons. The dancers make high stepping motions, kicking the frontales up in the air as they go; as if moving through high grasses. The ribbons swish and fly around the men and they are clouded in a blur of colour and movement. The women follow carrying warakitas, which are shorter and much finer. They hold their whips in two hands, stretched wide in front of their bodies or sweeping from side to side above their heads. They wear large brightly coloured skirts known as polleras made from heavy material which swish and swoosh as they dance from side to side – step, touch together, bounce; step, touch together, bounce. The women follow the serpent pattern of the men. Behind the women are the musicians playing guitars, quenas and tinyas. The musicians are followed by five older men dressed in pants and suit coats carrying ponchos draped over the right shoulder. They represent the traditional community authorities known as Varayuq and karguyuq. The oldest of the men is carrying the symbols of leadership – the staff and the whip.The Choreography of PlaceFor the members of Los Hijos de Chilcas the dance represents the topography of their homeland. The steps and choreography are created and informed by the dancers’ relationship to the land from which they come. La Mar is a very mountainous region where, as one dancer explained, it is impossible to walk a straight line up or down the terrain. One must therefore weave a winding path so as not to slip and fall. As the dancers snake and weave, curl and wind they literally dance their “place” of origin into being. With each swaying movement of their body, with each turn and with every footfall on the earth, dancers lay the mountainous terrain of La Mar along the paved roads of the Plaza. The flying ribbons of the frontales evoke the long grasses of the hillsides. “The steps are danced in the form of a zigzag which represents the changeable and curvilinear paths that join the towns, as well as creating the figure eight which represents the eight anexos of the district” (Carnaval Tradicional). Los Hijos de ChilcasThe weaving patterns and the figure eights of the dance create a choreography of place, which reflects and evoke the land. This choreography of place is built upon with each step of the dance many of which emulate the native fauna. One of the dancers explained whilst demonstrating a hopping step “this is the step of a little bird” common to La Mar. With his body bent forward from the waist, left hand behind his back and elbow out to the side like a wing, stepping forward on the left leg and sweeping the right leg in half circle motion, he indeed resembled a little bird hopping along the ground. Other animals such as the luwichu or deer are also represented through movement and costume.Katrina Teaiwa notes that the peoples of the South Pacific dance to embody “not space but place”. This is true also for campesinos from Chilcas living in the urban setting, who invoke their place of origin and the time of the ancestors as they dance their carnival. The notion of place is not merely terrain. It includes the nature elements, the ancestors and those who also those who have passed away. The province of La Mar was one of the most severely affected areas during the years of internal armed conflict especially during 1983-1984. More than 1,400 deaths and disappearances were reported to the TRC for this period alone (CVR). Hundreds of people were forced to leave their homes and in many communities it became impossible to celebrate fiestas. Through the choreography of place dancers transform the urban streets and dance the very land of their origin into being, claiming the urban streets as their own. The importance of this act can not be overstated for campesinos who have lost family members and were forced to leave their communities during the years of violence. As Deborah Poole has noted dance is “…the active Andean voice …” (99). As comparsa members teach their children the carnival dance of their parents and grandparents they maintain ancestral connections and pass on the stories and embodied memories of their homes. Much of the literature on carnival views it as a release valve which allows a temporary freedom but which ultimately functions to reinforce established structures. This is no longer the case in Huamanga. The transformative effect of rural carnival goes beyond the moment of the dance. Through dancing the choreography of place campesinos salvage and restore that which was taken from them; the effects of which are felt by both the dancer and spectator.ConclusionThe closer examination of dance as embodied memory reveals those memory practices which may not necessarily voice the violence directly, but which are enacted, funded and embodied and thus, important to the people most affected by the years of conflict and violence. In conclusion, the dance of rural carnival functions as embodied memory which is danced into being through collective participation; through many bodies working together. Dancers who participate in rural carnival have absorbed the land sensorially and embodied it. Through dancing the land they give it form and bring embodied memory into being, imbuing the paved roads of the plaza with the mountainous terrain of their home land. For those born in the city, they come to know their ancestral land through the Andean voice of dance. The dance of carnival functions in a unique way making it possible for participants recall their homelands through a physical memory and to dance their place into being wherever they are. This corporeal memory goes beyond the normal understanding of memory as being of the mind for as Connerton notes “images of the past are remembered by way of ritual performances that are ‘stored’ in a bodily memory” (89). ReferencesAbercrombie, Thomas A. “La fiesta de carnaval postcolonial en Oruro: Clase, etnicidad y nacionalismo en la danza folklórica.” Revista Andina 10.2 (1992): 279-352.Carnaval Tradicional del Distrito de Chilcas – La Mar, Comparsas de La Asociación Social – Cultural “Los Hijos de Chilcas y Anexos”, pamphlet handed to the judges of the Atipinakuy, 2010.CVR. Informe Final. Lima: Comisión de la Verdad y Reconciliación, 2003. 1 March 2008 < http://www.cverdad.org.pe >.Bigenho, Michelle. “Sensing Locality in Yura: Rituals of Carnival and of the Bolivian State.” American Ethnologist 26.4 (1999): 95-80.Connerton, Paul. How Societies Remember. Cambridge; Cambridge University Press, 1989.Coronel Aguirre, José, M. Cabrera Romero, G. Machaca Calle, and R. Ochatoma Paravivino. “Análisis de acciones del carnaval ayacuchano – 1986.” Carnaval en Ayacucho, CEDIFA, Investigaciones No. 1, 1986.Cowan, Jane. Dance and the Body Politic in Northern Greece. New Jersey: Princeton University Press, 1990.Garcia, Maria Elena. Making Indigenous Citizens: Identities, Education and Multicultural Development in Peru. California: Stanford University Press, 2005.Isbelle, Billie Jean. To Defend Ourselves: Ecology and Ritual in an Andean Village. Illinois: Waveland Press, 1985.Mendoza, Zoila S. Shaping Society through Dance: Mestizo Ritual Performance in the Peruvian Andes. Chicago: University of Chicago Press, 2000.Poole, Deborah. “Andean Ritual Dance.” TDR 34.2 (Summer 1990): 98-126.Ritter, Jonathan. “Siren Songs: Ritual and Revolution in the Peruvian Andes.” British Journal of Ethnomusicology 11.1 (2002): 9-42.Sklar, Deidre. “‘All the Dances Have a Meaning to That Apparition”: Felt Knowledge and the Danzantes of Tortugas, New Mexico.” Dance Research Journal 31.2 (Autumn 1999): 14-33.Stern, Steve J. Peru’s Indian Peoples and the Challenge of Spanish Conquest: Huamanga to 1640. Madison: University of Wisconsin Press, 1982.Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press, 2003.Teaiwa, Katerina. "Challenges to Dance! Choreographing History in Oceania." Paper for Greg Denning Memorial Lecture, Melbourne University, Melbourne, 14 Oct. 2010.United Nations International Human Rights Instruments. Core Document Forming Part of the Reports of States Parties: Peru. 27 June 1995. HRI/CORE/1/Add.43/Rev.1. 12 May 2012 < http://www.unhcr.org/refworld/docid/3ae6ae1f8.html >.

Photo by 187929822 © Victor Moussa | Dreamstime.com INTRODUCTION The nonconsensual taking of a human organ to use in transplantation medicine violates ethical principles, including autonomy, informed consent, and human rights, as well as criminal laws. When such an organ harvesting is not just nonconsensual, but performed in a way that causes a death or uses the pretense of brain death without meeting the criteria, it also violates the dead donor[1] rule.[2] The dead donor rule is both ethical and legal. It prevents organ retrieval that would predictably cause the death of the organ donor.[3] Retrieval of a vital organ is permissible only after a declaration of death.[4] Forced organ harvesting may breach the dead donor rule as it stands. A reimagined, broader dead donor rule could consider a larger timeframe in the forced organ harvesting context. In doing so, the broad dead donor rule could cover intent, premeditation, aiding and abetting, and due diligence failures. A broad definition of forced organ harvesting is ‘‘the removal of one or more organs from a person by means of coercion, abduction, deception, fraud, or abuse of power. . .’’[5] A more targeted definition is “[t]he killing of a person so that their organs may be removed without their free, voluntary and informed consent and transplanted into another person.”[6] In the global organ harvesting context, forced organ harvesting violates the World Health Organization (WHO) Guiding Principle 3, which says “live organ donors should be acting willingly, free of any undue influence or coercion.”[7] Furthermore, WHO states live donors should be “genetically, legally, or emotionally” attached to the recipient. Guiding Principle 1 applies to deceased donors, covers consent, and permits donation absent any known objections by the deceased.[8] Principle 7 says, “Physicians and other health professionals should not engage in transplantation procedures, and health insurers and other payers should not cover such procedures if the cells, tissues or organs concerned have been obtained through exploitation or coercion of, or payment to, the donor or the next of kin of a deceased donor.”[9] There are underground markets in which organ hunters prey on the local poor in countries with low wages and widespread poverty[10] and human trafficking that targets migrants for the purpose of organ harvesting.[11] This paper explores forced harvesting under the backdrop of the dead donor rule, arguing that a human rights violation so egregious requires holding even distant participants in the chain of events accountable. By interfering with resources necessary to carry out bad acts, legislation and corporate and institutional policies can act as powerful deterrents. A broader dead donor rule would highlight the premeditation and intent evidenced well before the act of organ retrieval. I. Background and Evidence In China, there is evidence that people incarcerated for religious beliefs and practices (Falun Gong) and ethnic minorities (Uyghurs) have been subjects of forced organ harvesting. A tribunal (the China Tribunal) found beyond a reasonable doubt that China engaged in forced organ harvesting.[12] Additionally, eight UN Special Rapporteurs found a system of subjecting political prisoners and prisoners of conscience to blood tests and radiological examinations to determine the fitness of their organs.[13] As early as 2006, investigators found evidence of forced organ harvesting from Falun Gong practitioners. [14] Over a million Uyghurs are in custody there, and there is ample evidence of biometric data collection.[15] An Uyghur tribunal found evidence of genocide.[16] “China is the only country in the world to have an industrial-scale organ trafficking practice that harvests organs from executed prisoners of conscience.”[17] Witnesses testified to the removal of organs from live people without ample anesthesia,[18] summonses to the execution grounds for organ removal,[19] methods of causing death for the purpose of organ procurement,[20] removing eyes from prisoners who were alive,[21] and forcing live prisoners into operating rooms.[22] The current extent of executions to harvest organs from prisoners of conscience in China is unknown. The Chinese press has suggested surgeons in China will perform 50,000 organ transplants this year.[23] Doctors Against Forced Organ Harvesting (DAFOR) concluded, “[f]orced organ harvesting from living people has occurred and continues to occur unabated in China.”[24] China continues to advertise in multiple languages to attract transplant tourists.[25] Wait times for organs seem to remain in the weeks.[26] In the United States, it is common to wait three to five years.[27] II. The Nascent System of Voluntary Organ Donation in China In China, throughout the 1990s and early 2000s, the supply of organs for transplant was low, and there was not a national system to register as a donor. A 1984 act permitted death row prisoners to donate organs.[28] In 2005, a Vice Minister acknowledged that 95 percent of all organ transplants used organs from death row prisoners.[29] In 2007 the planning of a voluntary system to harvest organs after cardiac death emerged. According to a Chinese publication, China adopted brain death criteria in 2013.[30] There had been public opposition due partly to cultural unfamiliarity with it.[31] Cultural values about death made it more difficult to adopt a universal brain death definition. Both Buddhist and Confucian beliefs contradicted brain death.[32] Circulatory death was traditionally culturally accepted.[33] The Ministry of Health announced that by 2015 organ harvesting would be purely voluntary and that prisoners would not be the source of organs.[34] There are cultural barriers to voluntary donation partly due to a Confucian belief that bodies return to ancestors intact and other cultural and religious beliefs about respect for the dead.[35] An emphasis on family and community over the individual posed another barrier to the Western approach to organ donation. Public awareness and insufficient healthcare professional knowledge about the process of organ donation are also barriers to voluntary donation.[36] Although the Chinese government claims its current system is voluntary and no longer exploits prisoners,[37] vast evidence contradicts the credibility of the voluntary transplant program in China.[38] III. Dead Donor Rule: A Source of Bioethical Debate It seems tedious to apply this ethical foundation to something as glaring as forced organ harvesting. But the dead donor rule is a widely held recognition that it is not right to kill one person to save another.[39] It acts as a prohibition on killing for the sake of organ retrieval and imposes a technical requirement which influences laws on how death is declared. The dead donor rule prevents organ harvesting that causes death by prohibiting harvesting any organ which the donor agreed to donate only after death prior to an official declaration of death. There is an ongoing ethical debate about the dead donor rule. Many in bioethics and transplant medicine would justify removing organs in specific situations prior to a declaration of death, abandoning the rule.[40] Some use utilitarian arguments to justify causing the death of someone who is unconscious and on life support irreversibly. Journal articles suggest that the discussion has moved to one of timing and organ retrieval.[41] Robert Truog and Franklin Miller are critics of the dead donor rule, arguing that, in practice, it is not strictly obeyed: removing organs while a brain-dead donor is still on mechanical ventilation and has a beating heart and removing organs right after life support is removed and cardio-pulmonary death is declared both might not truly meet the requirement of the dead donor rule, making following the rule “a dubious norm.”[42] Miller and Truog question the concept of brain death, citing evidence of whole body integrated functions that continue indefinitely. They challenge cardio-pulmonary death, asserting that the definition includes as dead, those who could be resuscitated. Their hearts could resume beating with medical intervention. Stopping life support causes death only in those whose lives are sustained by it. Some stipulate that the organ retrieval must not itself cause the death. Some would rejigger the cause of death: Daniel Callahan suggests that the underlying condition causes the death despite removal of life support.[43] But logically, a person could continue life support and be alive, so clearly, removing life support does cause death. Something else would have caused brain death or the circumstance that landed the person on mechanical ventilation. To be more accurate, one could say X caused the irreversible coma and removing life support caused the death itself. Miller and Truog take the position that because withdrawal of life support does cause death, the dead donor rule should be defunct as insincere. To them, retrieving vital organs from a technically alive donor should be permissible under limited conditions. They look to the autonomous choices of the donor or the surrogate (an autonomy-based argument). They appreciate the demand for organs and the ability to save lives, drawing attention to those in need of organs. Live donor organ retrieval arguably presents a slippery slope, especially if a potential donor is close to death, but not so close to label it imminent. They say physicians would not be obligated to follow the orders of a healthy person wishing to have vital organs removed, perhaps to save a close friend or relative. Similarly, Radcliffe-Richards, et al. argue that there is no reason to worry about the slippery slope of people choosing death so they can sell their vital organs, whether for money for their decedents or their creditors.[44] The movement toward permissibility and increased acceptance of medical aid in dying also influence the organ donation arena. The slippery slope toward the end of life has potential to become a realistic concern. Older adults or other people close to death may want to donate a vital organ, like their heart, to a young relative in need. That could greatly influence the timing of a decision to end one’s life. IV. Relating the Dead Donor Rule to Forced Organ Harvesting There is well documented evidence that in China organs have been removed before a declaration of death.[45] But one thing the dead donor rule does not explicitly cover is intent and the period prior to the events leading to death. It tends to apply to a near-death situation and is primarily studied in its relationship to organ donation. It is about death more than it is about life. Robertson and Lavee investigated data on transplantation of vital organs in China and they document cases where the declaration of death was a pretense, insincere, and incorrect. Their aim was to investigate whether the prisoners were in fact dead prior to organ harvesting.[46] (The China Tribunal found that organs have been removed from live prisoners and that organ harvesting has been the cause of death.) They are further concerned with the possible role of doctors as executioners, or at least as complicit in the execution as the organ harvesting so closely follows it. V. A Broader Dead Donor Rule A presumed ethical precursor to the dead donor rule may also be an important ethical extension of the rule: the dead donor rule must also prohibit killing a person who is not otherwise near death for the purpose of post-death organ harvesting. In China, extra-judicial killings of prisoners of conscience are premeditated ― there is ample evidence of blood tests and radiology to ensure organ compatibility and health.[47] To have effective ethical force, the dead donor rule should have an obvious application in preventing intentional killing for an organ retrieval, not just killing by way of organ retrieval. When we picture the dead donor rule, bioethicists tend to envision a person on life support who will either be taken off it and stop breathing or who will be declared brain dead. But the dead donor rule should apply to healthy people subject to persecution at the point when the perpetrator lays the ground for the later killing. At that point, many organizations and people may be complicit or unknowingly contributing to forced organ harvesting. In this iteration of the dead donor rule, complicity in its violations would be widespread. The dead donor rule could address the initial action of ordering a blood or radiology test or collecting any biometric data. Trained physicians and healthcare technicians perform such tests. Under my proposed stretch of the dead donor rule, they too would be complicit in the very early steps that eventually lead to killing a person for their organs. I argue these steps are part of forced organ harvesting and violate the dead donor rule. The donor is very much alive in the months and years preceding the killing. A conspiracy of indifference toward life, religious persecution, ethnic discrimination, a desire to expand organ transplant tourism, and intent to kill can violate this broader dead donor rule. The dead donor rule does not usually apply to the timing of the thought of organ removal, nor the beginning of the chain of events that leads to it. It is usually saved for the very detailed determination of what may count as death so that physicians may remove vital and other organs, with the consent of the donor.[48] But I argue that declaring death at the time of retrieval may not be enough. Contributing to the death, even by actions months or years in advance, matter too. Perhaps being on the deathbed awaiting a certain death must be distinguished from going about one’s business only to wind up a victim of forced organ harvesting. Both may well be declared dead before organ retrieval, but the likeness stops there. The person targeted for future organ retrieval to satisfy a growing transplant tourism business or local demand is unlike the altruistic person on his deathbed. While it may seem like the dead donor rule is merely a bioethics rule, it does inform the law. And it has ethical heft. It may be worth expanding it to the arena of human trafficking for the sake of organ removal and forced organ harvesting.[49] The dead donor rule is really meant to ensure that death was properly declared to protect life, something that must be protected from an earlier point. VI. Complicity: Meaning and Application Human rights due diligence refers to actions that people or institutions must take to ensure they are not contributing to a human rights violation. To advise on how to mitigate risk of involvement or contribution to human rights violations, Global Rights Compliance published an advisory that describes human rights due diligence as “[t]he proactive conduct of a medical institution and transplant-associated entity to identify and manage human rights risks and adverse human rights impacts along their entire value and supply chain.”[50] Many people and organizations enable forced organ harvesting. They may be unwittingly complicit or knowingly aiding and abetting criminal activity. For example, some suppliers of medical equipment and immunosuppressants may inadvertently contribute to human rights abuses in transplantation in China, or in other countries where organs were harvested without consent, under duress, or during human trafficking. According to Global Rights Compliance, “China in the first half of 2021 alone imported ‘a total value of about 24 billion U.S. dollars’ worth of medical technology equipment’, with the United States and Germany among the top import sources.”[51] The companies supplying the equipment may be able to slow or stop the harm by failing to supply necessary equipment and drugs. Internal due diligence policies would help companies analyze their suppliers and purchasers. Corporations, educational institutions, and other entities in the transplantation supply chain, medical education, insurance, or publishing must engage in human rights due diligence. The Global Rights Compliance advisory suggests that journals should not include any ill-gotten research. Laws should regulate corporations and target the supply chain also. All actors in the chain of supply, etc. are leading to the death of the nonconsenting victim. They are doing so while the victim is alive. The Stop Forced Organ Harvesting Act of 2023, pending in the United States, would hold any person or entity that “funds, sponsors, or otherwise facilitates forced organ harvesting or trafficking in persons for purposes of the removal of organs” responsible. The pending legislation states that: It shall be the policy of the United States—(1) to combat international trafficking in persons for purposes of the removal of organs;(2) to promote the establishment of voluntary organ donation systems with effective enforcement mechanisms in bilateral diplomatic meetings and in international health forums;(3) to promote the dignity and security of human life in accordance with the Universal Declaration of Human Rights, adopted on December 10, 1948; and(4) to hold accountable persons implicated, including members of the Chinese Communist Party, in forced organ harvesting and trafficking in persons for purposes of the removal of organs.[52] The Act calls on the President to provide Congress a list of such people or entities and to sanction them by property blocking, and, in the case of non-US citizens, passport and visa denial or revocation. The Act includes a reporting requirement under the Foreign Assistance Act of 1961 that includes an assessment of entities engaged in or supporting forced organ harvesting.[53] The law may have a meaningful impact on forced organ harvesting. Other countries have taken or are in the process of legal approaches as well.[54] Countries should consider legislation to prevent transplant tourism, criminalize complicity, and require human rights due diligence. An expanded dead donor rule supports legal and policy remedies to prevent enabling people to carry out forced organ harvesting. VII. Do Bioethicists Mention Human Rights Abuses and Forced Organ Harvesting Enough? As a field, bioethics literature often focuses on the need for more organs, the pain and suffering of those on organ transplant waitlists, and fairness in allocating organs or deciding who belongs on which waitlist and why. However, some bioethicists have drawn attention to forced organ harvesting in China. Notably, several articles noted the ethical breaches and called on academic journals to turn away articles on transplantation from China as they are based on the unethical practice of executing prisoners of conscience for their organs.[55] The call for such a boycott was originally published in a Lancet article in 2011.[56] There is some acknowledgement that China cares about how other countries perceive it,[57] which could lead to either improvements in human rights or cover-ups of violations. Ill-gotten research has long been in the bioethics purview with significant commentary on abuses in Tuskegee and the Holocaust.[58] Human research subjects are protected by the Declaration of Helsinki, which requires acting in the best interests of research subjects and informed consent among other protections.[59] The Declaration of Helsinki is directed at physicians and requires subjects enroll in medical research voluntarily. The Declaration does not explicitly cover other healthcare professionals, but its requirements are well accepted broadly in health care. CONCLUSION The dead donor rule in its current form really does not cover the life of a non-injured healthy person at an earlier point. If it could be reimagined, we could highlight the link between persecution for being a member of a group like Falun Gong practitioners or Uyghurs as the start of the process that leads to a nonconsensual organ retrieval whether after a proper declaration of death or not. It is obviously not ethically enough to ensure an execution is complete before the organs are harvested. It is abuse of the dead donor rule to have such a circumstance meet its ethical requirement. And obviously killing people for their beliefs or ethnicity (and extra-judicial killings generally) is not an ethically acceptable action for many reasons. The deaths are intentionally orchestrated, but people and companies who may have no knowledge of their role or the role of physicians they train or equipment they sell are enablers. An expanded dead donor rule helps highlight a longer timeframe and expanded scope of complicity. The organ perfusion equipment or pharmaceuticals manufactured in the United States today must not end up enabling forced organ harvesting. With an expanded ethical rule, the “donor is not dead” may become “the donor would not be dead if not for. . .” the host of illegal acts, arrests without cause, forced detention in labor camps, extra-judicial killings, lacking human rights due diligence, and inattention to this important topic. The expanded dead donor rule may also appeal to the bioethics community and justify more attention to laws and policies like the Stop Forced Organ Harvesting Act of 2023. - [1] The word “donor” in this paper describes any person from whom organs are retrieved regardless of compensation, force, or exploitation in keeping with the bioethics literature and the phrase “dead donor rule.” [2] Robertson, M.P., Lavee J. (2022). Execution by organ procurement: Breaching the dead donor rule in China. Am J Transplant, Vol.22,1804– 1812. doi:10.1111/ajt.16969. [3] Robertson, J. A. (1999). Delimiting the donor: the dead donor rule. Hastings Center Report, 29(6), 6-14. [4] Retrieval of non-vital organs which the donor consents to donate post-death (whether opt-in, opt-out, presumed, or explicit according to local law) also trigger the dead donor rule. [5] The Stop Forced Organ Harvesting Act of 2023, H.R. 1154, 118th Congress (2023), https://www.congress.gov/bill/118th-congress/house-bill/1154. [6] Do No Harm: Mitigating Human Rights Risks when Interacting with International Medical Institutions & Professionals in Transplantation Medicine, Global Rights Compliance, Legal Advisory Report, April 2022, https://globalrightscompliance.com/project/do-no-harm-policy-guidance-and-legal-advisory-report/. [7] WHO Guiding Principles on Human Cell, Tissue and Organ Transplantation, as endorsed by the sixty-third World Health Assembly in May 2010, in Resolution WHA63.22 https://apps.who.int/iris/bitstream/handle/10665/341814/WHO-HTP-EHT-CPR-2010.01-eng.pdf?sequence=1. [8] WHO Guiding Principles on Human Cell, Tissue and Organ Transplantation (2010). [9] WHO Guiding Principles on Human Cell, Tissue and Organ Transplantation (2010). [10] Promchertchoo, Pichayada (Oct. 19, 2019). Kidney for sale: Inside Philippines’ illegal organ trade. https://www.channelnewsasia.com/asia/kidney-for-sale-philippines-illegal-organ-trade-857551; Widodo, W. and Wiwik Utami (2021), The Causes of Indonesian People Selling Covered Kidneys from a Criminology and Economic Perspective: Analysis Based on Rational Choice Theory. European Journal of Political Science Studies, Vol 5, Issue 1. [11] Van Reisen, M., & Mawere, M. (Eds.). (2017). Human trafficking and trauma in the digital era: The ongoing tragedy of the trade in refugees from Eritrea. African Books Collective. [12] The Independent Tribunal into Forced Organ Harvesting from Prisoners of Conscience in China (China Tribunal) (2020). https://chinatribunal.com/wp-content/uploads/2020/03/ChinaTribunal_JUDGMENT_1stMarch_2020.pdf [13] UN Office of the High Commissioner, Press Release, China: UN human Rights experts alarmed by ‘organ harvesting’ allegations (UN OTHCHR, 14 June 2021), https://www.ohchr.org/en/press-releases/2021/06/china-un-human-rights-experts-alarmed-organ-harvesting-allegations. [14] David Matas and David Kilgour, Bloody Harvest. The killing of Falun Gong for their organs (Seraphim Editions 2009). [15] How China is crushing the Uyghurs, The Economist, video documentary, July 9, 2019, https://youtu.be/GRBcP5BrffI. [16] Uyghur Tribunal, Judgment (9 December 2021) (Uyghur Tribunal Judgment) para 1, https://uyghurtribunal.com/wp-content/uploads/2022/01/Uyghur-Tribunal-Judgment-9th-Dec-21.pdf. [17] Ali Iqbal and Aliya Khan, Killing prisoners for transplants: Forced organ harvesting in China, The Conversation Published: July 28, 2022. https://theconversation.com/killing-prisoners-for-transplants-forced-organ-harvesting-in-china-161999 [18] Testimony demonstrated surgeries to remove vital organs from live people, killing them, sometimes without ample anesthesia to prevent wakefulness and pain. China Tribunal (2020), p. 416-417. https://chinatribunal.com/wp-content/uploads/2020/03/ChinaTribunal_JUDGMENT_1stMarch_2020.pdf; Robertson MP, Lavee J. (2022), Execution by organ procurement: Breaching the dead donor rule in China. Am J Transplant, Vol.22,1804– 1812. doi:10.1111/ajt.16969. [19] Doctors reported being summoned to execution grounds and told to harvest organs amid uncertainty that the prisoner was in fact dead. China Tribunal (2020), p. 52-53. [20]In testimony to the China Tribunal, Dr. Huige Li noted four methods of organ harvesting from live prisoners: incomplete execution by shooting, after lethal injection prior to death, execution by removal of the heart, and after a determination of brain death prior to an intubation (pretense of brain death). China Tribunal (2020), pp. 54-55. https://chinatribunal.com/wp-content/uploads/2020/03/ChinaTribunal_JUDGMENT_1stMarch_2020.pdf [21] A former military medical student described removing organs from a live prisoner in the late 1990s. He further described his inability to remove the eyes of a live man and his witnessing another doctor forcefully remove the man’s eyes. China Tribunal (2020), p. 330. [22] In 2006, a nurse testified that her ex-husband, a surgeon, removed the eyes of 2,000 Falun Gong practitioners in one hospital between 2001 and 2003. She described the Falun Gong labor-camp prisoners as being forced into operating rooms where they were given a shot to stop their hearts. Other doctors removed other organs. DAFOH Special Report, 2022. https://epochpage.com/wp-content/uploads/sites/3/2022/12/DAFOH-Special-Report-2022.pdf [23] Robertson MP, Lavee J. (2022), Execution by organ procurement: Breaching the dead donor rule in China. Am J Transplant, Vol.22,1804– 1812. doi:10.1111/ajt.16969. [24] DAFOH Special Report, 2022. https://epochpage.com/wp-content/uploads/sites/3/2022/12/DAFOH-Special-Report-2022.pdf; DAFOH’s physicians were nominated for a Nobel Prize for their work to stop forced organ harvesting. Šućur, A., & Gajović, S. (2016). Nobel Peace Prize nomination for Doctors Against Forced Organ Harvesting (DAFOH) - a recognition of upholding ethical practices in medicine. Croatian medical journal, 57(3), 219–222. https://doi.org/10.3325/cmj.2016.57.219 [25] Robertson and Lavee (2022). [26] Stop Organ Harvesting in China, website (organization of the Falun Dafa). https://www.stoporganharvesting.org/short-waiting-times/ [27] National Kidney Foundation, The Kidney Transplant Waitlist – What You Need to Know, https://www.kidney.org/atoz/content/transplant-waitlist [28] Wu, Y., Elliott, R., Li, L., Yang, T., Bai, Y., & Ma, W. (2018). Cadaveric organ donation in China: a crossroads for ethics and sociocultural factors. Medicine, 97(10). [29] Wu, Elliott, et al., (2018). [30] Su, Y. Y., Chen, W. B., Liu, G., Fan, L. L., Zhang, Y., Ye, H., ... & Jiang, M. D. (2018). An investigation and suggestions for the improvement of brain death determination in China. Chinese Medical Journal, 131(24), 2910-2914. [31] Huang, J., Millis, J. M., Mao, Y., Millis, M. A., Sang, X., & Zhong, S. (2012). A pilot programme of organ donation after cardiac death in China. The Lancet, 379(9818), 862-865. [32] Yang, Q., & Miller, G. (2015). East–west differences in perception of brain death: Review of history, current understandings, and directions for future research. Journal of bioethical inquiry, 12, 211-225. [33] Huang, J., Millis, J. M., Mao, Y., Millis, M. A., Sang, X., & Zhong, S. (2015). Voluntary organ donation system adapted to Chinese cultural values and social reality. Liver Transplantation, 21(4), 419-422. [34] Huang, Millis, et al. (2015). [35] Wu, X., & Fang, Q. (2013). Financial compensation for deceased organ donation in China. Journal of Medical Ethics, 39(6), 378-379. [36] An, N., Shi, Y., Jiang, Y., & Zhao, L. (2016). Organ donation in China: the major progress and the continuing problem. Journal of biomedical research, 30(2), 81. [37] Shi, B. Y., Liu, Z. J., & Yu, T. (2020). Development of the organ donation and transplantation system in China. Chinese medical journal, 133(07), 760-765. [38] Robertson, M. P., Hinde, R. L., & Lavee, J. (2019). Analysis of official deceased organ donation data casts doubt on the credibility of China’s organ transplant reform. BMC Medical Ethics, 20(1), 1-20. [39] Miller, F.G. and Sade, R. M. (2014). Consequences of the Dead Donor Rule. The Annals of thoracic surgery, 97(4), 1131–1132. https://doi.org/10.1016/j.athoracsur.2014.01.003 [40] For example, Miller and Sade (2014) and Miller and Truog (2008). [41] Omelianchuk, A. How (not) to think of the ‘dead-donor’ rule. Theor Med Bioeth 39, 1–25 (2018). https://doi-org.ezproxy.cul.columbia.edu/10.1007/s11017-018-9432-5 [42] Miller, F.G. and Truog, R.D. (2008), Rethinking the Ethics of Vital Organ Donations. Hastings Center Report. 38: 38-46. [43] Miller and Truog, (2008), p. 40, citing Callahan, D., The Troubled Dream of Life, p. 77. [44] Radcliffe-Richards, J., Daar, A.S., Guttman, R.D., Hoffenberg, R., Kennedy, I., Lock, M., Sells, R.A., Tilney, N. (1998), The Case for Allowing Kidney Sales, The Lancet, Vol 351, p. 279. (Authored by members of the International Forum for Transplant Ethics.) [45] Robertson and Lavee, (2022). [46] Robertson and Lavee, (2022). [47] China Tribunal (2020). [48] Consent varies by local law and may be explicit or presumed and use an opt-in or opt-out system and may or may not require the signoff by a close family member. [49] Bain, Christina, Mari, Joseph. June 26, 2018, Organ Trafficking: The Unseen Form of Human Trafficking, ACAMS Today, https://www.acamstoday.org/organ-trafficking-the-unseen-form-of-human-trafficking/; Stammers, T. (2022), "2: Organ trafficking: a neglected aspect of modern slavery", Modern Slavery and Human Trafficking, Bristol, UK: Policy Press. https://bristoluniversitypressdigital.com/view/book/978144736. [50] Do No Harm: Mitigating Human Rights Risks when Interacting with International Medical Institutions & Professionals in Transplantation Medicine, Global Rights Compliance, Legal Advisory Report, April 2022, https://globalrightscompliance.com/project/do-no-harm-policy-guidance-and-legal-advisory-report/. [51] Global Rights Compliance, p. 22. [52] The Stop Forced Organ Harvesting Act of 2023, H.R. 1154, 118th Congress (2023). https://www.congress.gov/bill/118th-congress/house-bill/1154. [53] The Stop Forced Organ Harvesting Act of 2023, H.R. 1154, 118th Congress (2023), https://www.congress.gov/bill/118th-congress/house-bill/1154. [54] Global Rights Compliance notes that Belgium, France (passed law on human rights due diligence in the value supply chain), United Kingdom, United States, Canada, Australia, and New Zealand have legal approaches, resolutions, and pending laws. p. 45. [55] For example, Caplan, A.L. (2020), The ethics of the unmentionable Journal of Medical Ethics 2020;46:687-688. [56] Caplan, A.L. , Danovitch, G., Shapiro M., et al. (2011) Time for a boycott of Chinese science and medicine pertaining to organ transplantation. Lancet, 378(9798):1218. doi:10.1016/S0140-6736(11)61536-5 [57] Robertson and Lavee. [58] Smolin, D. M. (2011). The Tuskegee syphilis experiment, social change, and the future of bioethics. Faulkner L. Rev., 3, 229; Gallin, S., & Bedzow, I. (2020). Holocaust as an inflection point in the development of bioethics and research ethics. Handbook of research ethics and scientific integrity, 1071-1090. [59] World Medical Association Declaration of Helsinki: Ethical Principles for Medical Research Involving Human Subjects, adopted by the 18th WMA General Assembly, Helsinki, Finland, June 1964, and amended multiple times, most recently by the 64th WMA General Assembly, Fortaleza, Brazil, October 2013. https://www.wma.net/policies-post/wma-declaration-of-helsinki-ethical-principles-for-medical-research-involving-human-subjects/