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OBJECTIVE: To assess weight perceptions and weight control practices among American Indian-Alaska Native adolescents. DESIGN: Survey. SETTING: Nonurban schools from eight Indian Health Service areas. PARTICIPANTS: A total of 13,454 seventh- through 12th-grade American Indian-Alaska Native youths. MAIN OUTCOME MEASURES: A revised version of the Adolescent Health Survey, a comprehensive, anonymous self-report questionnaire with eating- and body image-related questions. RESULTS: Forty-one percent of the adolescent girls reported feeling overweight, 50% were dissatisfied with their weight, and 44% worried about being overweight. Almost half (48%) had been on a weight-loss diet in the past year, with 27% reporting that they had self-induced vomiting at some time to try to lose weight. Eleven percent reported using diet pills. Girls who reported feeling overweight were more likely to engage in unhealthy weight control practices than were those who felt they were of normal weight or underweight. A larger proportion of boys were satisfied with their weight (68%), with 22% worrying about being overweight. However, compared with rural Minnesota youth, both American Indian girls and boys had greater dissatisfaction with body weight. CONCLUSIONS: Our study shows that American Indian youth, particularly girls, are dissatisfied with their weight and are worried about being overweight, and that unhealthy weight control practices are common. More attention needs to be placed on developing culturally appropriate weight management programs for Indian youths.
In the 1990s, partly due to the influence of the West, the love story here has changed paradoxically. Call it a new mixture of Hollywood and Hindu: Ever younger audiences want hipper characters who live in suburban utopias, wear jeans and sunglasses, and talk like Leonardo DiCaprio. But they want them acting in films with a more traditional Hindu "family values" script - and a story line so fancifully romantic that tearjerkers like "The Princess Bride" or "Titanic" seem ho hum.
Even against-the-grain Canadian-Indian filmmaker Deepa Mehta, whose new picture "Earth" is being screened this month in the US, has nodded to the power of a love story. "Earth" is set in the pathos of the 1947 breakup of India into India and Pakistan - the largest population switch in history. Yet its backbone is a love triangle between two Muslim suitors and a beautiful Hindu nanny.
"Indians all know they have another hard day tomorrow, so if you want a commercial blockbuster, you have to do a love story," says director Tanuja Chandra. "People want complete fantasy, a world minus problems. We don't see anything wrong with that."
Just ask Sanjay, Siachen, and Makarand, a team of vacuum-cleaner salesmen in Bombay who are in line at the popular Art Deco Regal theater, located near historic Churchgate, which plays Western films. Tonight "The Mummy" is on - it's a slick Hollywood thriller with the special effects and technical virtuosity that has started to corner a market in India. Still, these young men say their hearts are with the Hindi love story. "We work from 9 a.m. to 10:30 p.m., and we only sneak away once in awhile," says Siachen. "We want love. A moment like that is the most important thing, especially if a person is missing it. It makes us feel good to see it acted out."
Yet these marriages still leave many former romances in the lurch and unresolved. A love story like "Kuch Kuch" often raises expectations that aren't met at home - but does so in a way that leaves everyone imagining happy circumstances. "A lot of us marry to satisfy our families, and we say goodbye to our girlfriends," says Suvendu. "It isn't easy."
A talented new generation of under-30 Bollywood directors has arrived - but they have stuck with the commercially safer, low-budget love story. Director Karan Johar says that the tone and look of the college scenes in "Kuch Kuch" are patterned after "Beverly Hills 90210." "The art, the costumes, tilt toward the West," says Mr. Johar. "But the soul of the film is Indian."
Critics say the traditional Indian love story still has women confined to roles either as family-breaking vamps, or as dutiful wives. Mr. Johar says this is commercially necessary. He can't do a blockbuster that challenges the traditional male-dominated gender formula. He could not, for example, make a picture like "Kuch Kuch" where a widow looks for a new mate. "You have to satisfy so many audiences, most of which are in villages, and they won't want a film where women change roles. Females need to be seen as sacrificing themselves for the idea of family," says Johar.
One reason for monocinematic love stories, say experts, is that for the majority of Indians, especially in villages, relations between boys and girls are still tightly controlled. Holding hands and even extracurricular talking is often verboten, though this is changing in cities like Bombay, Calcutta, Bangalore, and New Delhi.
More so than in Africa, the Middle East, and other regions where the status of women is also low, Asia suffers from lopsided birth-sex ratios. Normally, more boys are born than girls, 104 to 107 males for every 100 females, although higher child-mortality rates for boys balance out the numbers as children grow.
According to 1992 official figures, 119 boys are born for every 100 girls in China. India has 112 male births for every 100 females. Among more developed countries in the region, 114 boys in South Korea and 110 boys in Taiwan are born for every 100 girls.
''Ultrasound scanners are now used widely in China to identify the sex of a fetus. We are banning these sex scanners and want strict control on their use for sex identification,'' says Peng Peiyun, head of the State Family Planning Commission. ''Great efforts are being made to popularize the idea that boys and girls are equals.''
Much of rural Asia also values the labor of boys over that of girls. The breakup of collective farms in China has ended socialist pension benefits for the elderly and made them more dependent on their families and sons for support and labor.
After all the books that have been written about sex, all the blogs and TV shows and radio Q&As, how can it be that we all still have so many questions? The frustrating reality is that we've been lied to - not deliberately, it's no one's fault, but still. We were told the wrong story.
If you are interested in the history of the Indian stock market, then this book is a must-read for you. Written in an easy-to-understand language, the book will take you on an exciting journey from the early days of the Bombay Stock Exchange, narrating all major episodes and players with learnings that can help you to navigate in the Indian Stock Market.
The capture, adoption, and/or enslavement of enemies in North American warfare long predated the European invasion of the 16th century. In every region and among nearly every nation of Native North America, captive-taking continued after the arrival of the Spanish, English, and French and accelerated in the 18th century as a result of the opportunities and pressures that colonialism brought to bear on indigenous peoples. Although the famous narratives of Indian captivity were written by people of European descent, the majority of people who were taken and adopted or enslaved by Native Americans were themselves Native American women, girls, and boys. One scholar estimates that perhaps as many as 2.5 to 5 million Indigenous slaves were owned by Europeans in the Western hemisphere from 1492 to 1900; this estimate excludes the millions more who were retained within other Indigenous communities.
Where do black women activists fit into the epochal struggles for equality and liberation during the 1960s and '70s? This feature-length documentary unearths the story of black women's political marginalization--between the male-dominated Black Power movement and second wave feminism, which was largely white and middle class--showing how each failed to recognize black women's overlapping racial and gender identities. Prominently featured activists include Frances Beale, Angela Davis, Kola Boof, Nikki Giovanni, Rosemari Mealy, Judy Richardson, Gwendolyn Simmons, Deborah Singletary, and Eugenia Wiltshire.