Culture-based prescribing to improve mental health: a scoping review protocol.

OBJECTIVE: The objective of this review is to investigate what is known about culture-based prescribing to improve mental health and well-being. INTRODUCTION: Culture-based prescribing, where a person is referred by a clinical professional to an arts or cultural activity aimed at improving mental health and well-being, is increasingly used as a community-based source of support. Although culture-based prescribing seems promising, the field is heterogeneous with respect to definition, underlying hypotheses, and cultural activity. This hampers its further development and implementation. INCLUSION CRITERIA: We will consider publications that report on or explore culture-based prescribing to improve mental health and well-being for adults with symptoms related to mental health conditions who are seeking care from any clinical professional. METHODS: We will search 8 electronic literature databases for published or unpublished reports on culture-based prescribing, without date limits. We will also search for gray literature and screen reference lists of relevant reviews. No language restrictions will be applied during the screening process, but for data extraction, we will only extract studies in languages our team has proficiency in. The screening and data extraction will be performed by 2 reviewers, independently. Data analysis will be descriptive, with results tabulated separately for each subquestion. The results will be complemented with a narrative summary. REVIEW REGISTRATION: Open Science Framework https://osf.io/ndbqj.

"My job is to keep my body healthy": biopedagogies, beauty and institutional greed in professional ballet.

CONTEXT: The ballet institution is known for its aesthetic and performative standards. In professional dancers' everyday lives, self-improvement and body awareness entwine with striving for artistic excellence. In this context, 'health' has primarily been explored in relation to eating disorders, pain, and injuries. AIM: This paper explores dancers' health practices, namely how they are shaped by the ballet institution and how they relate to broader health discourses. METHODOLOGY: A reflexive thematic analysis was conducted upon interviews with nine dancers (each interviewed twice) using a theoretical framework based on the concepts of greedy institutions and biopedagogies. ANALYSES: Two themes were developed: What it takes to be an 'insider' of the ballet institution and Learning to develop an acute embodied self-awareness. Dancers described ballet as a 'lifestyle' rather than a 'job'; practices of self-care defined by continuous self and body work were framed as necessary to meet the demands of this lifestyle. Participants 'played with' institutional and societal norms, often resisting docile bodies promoted within the ballet institution. CONCLUSION: Dancers' constructions of health and the art of ballet as not fitting neatly into 'good' nor 'bad' make room to consider the tensions between adopting and resisting dominant health discourses in this institution.

Neoliberal and pandemic subjectivation processes: Clapping and singing as affective (re)actions during the Covid-19 home confinement.

During the Covid-19 pandemic, the restriction of free movement and the sheltering-in-place became worldwide strategies to manage the virus spread. Especially at the beginning of the pandemic, community-based affective events helped people feel less isolated and support each other. In this manuscript, we explore how two of these social practices-clapping and singing-were useful to counter the emotions entailed in the subjectivation processes that accompanied the pandemic. We then argue that, seen as affective happenings, singing and clapping heightened emotions and affects that were already implicit in neoliberalism, mainly anxiety, loneliness, and a sense of precariousness, disposability, and inadequacy. On one hand, singing and clapping were liberatory practices of solidarity and resistance against the changes induced by the pandemic and its biopolitics. On the other hand, they contributed to the primary narratives on social resilience, docile bodies, and biopolitics that informed the crisis management. Singing and clapping also operated as neoliberal technologies of the self by bringing the focus on individual agency, behavioral control, and the sacrifice of specific subjects (e.g., the healthcare workers described as heroes). In short, singing and clapping were affective happenings that instantiated an entanglement of subjectivation practices in which the power to affect and the power to resist coincided.