Eating disorders among high performance athletes

The purpose of this study was to examine whether athletes in certain sports display a higher tendency toward eating disorders than athletes in other sports. The Eating Attitudes Test (EAT) was administered to 191 athletes (104 females, 87 males). The athletes were classified into three groups (i.e., sport classes) according to type of sport. Overall, 10.6% of the female athletes and 4.6% of the male athletes scored over 30 in the EAT, placing them in the anorexic range. The prevalence of the results for the female athletes is comparable to other research on college university populations, while male athletes appeared to have a higher tendency toward eating disorders than the general population. Significant differences between sport classes were found for only among the female athletes' groups. Activities that emphasize leanness and athletes in weight-matched activities were related to higher EAT scores than in nonweight-restricting activities. The study indicates that different groups of athletes may be at different risks for developing eating disorders.Received Master of Education in Counselling Psychology from the University of Alberta. Major areas of research interest include sports psychology and eating disorders.Received Doctorate in Counselling Psychology from the University of Calgary. Major areas of research interest include health psychology and counselor education.     

Nicki-aesthetics: the camp performance of Nicki Minaj

In this essay, the author contends that Nicki Minaj practices what he terms nicki-aesthetics, a form of black performance art that employs an extravagant theatricality and a vivid, intensely hued style. Nicki-aesthetics shares qualities with the sensibility of camp, as outlined in Susan Sontag's 1964 article “Notes on ‘Camp,’” yet challenges camp's assumed association with white gay men as well as its reduction of women to objects (rather than subjects) within the camp universe. Nicki-aesthetics realigns blackness and camp as mutually constitutive (rather than oppositional) forms, while reconfiguring camp as a black female-centered practice. In addition, Nicki Minaj demonstrates her dexterity at performing nicki-aesthetics in an offbeat interview on Elle magazine's website while deploying avatars to play multiple roles. In doing so, nicki-aesthetics' quirky blend of artifice and alterity ultimately rebukes hip-hop's obsession with authenticity.     

Diamela Eltit: Clearing space for critical performance

Reggaeton's success in the international music scene has incited heated debates about the genre's genealogy. The dominant framework for discussing reggaeton's origin often relies on and reifies nation-based claims to the genre, overlooking how reggaeton resists being fixed to any single locale. In this paper I discuss the emergence of the reggaeton subgenre bhangraton (a mix of bhangra pop and reggaeton) and point to some of the ways that it challenged nationalist claims to reggaeton. Reggaetonera and Hindi-vocalist Deevani, in particular, complicates claims about racial, ethnic, and sonic purity that circulate within reggaeton by highlighting how race, gender, and affinity are performed and felt and by calling attention to the genre's multiple circuits outside the nation.     

Mojave mirages: gender and performance in Las Vegas

The article explores the permeable boundaries between image, perception, experience, and realities through a series of personal observations on gender and performance in Las Vegas. The author'observations on this resort destination in the middle of the Mojave Desert are mingled with the narratives of women who came to the area during and after World War II. Lucrative jobs in wartime industries followed by the post-war tourist economy gave women opportunities to earn more money than they could ‘back home.’ A work in progress, the article explores why women came to Las Vegas and stayed and how they, like many visitors to the city, play out their fantasies in its public theater.     

Negotiating hybridity: Native women's performance as cultural persistence

New Delhi-based performer, Maya Krishna Rao’s experimental performances incorporate a variety of forms including kathakali, cabaret, comedy, drag, live music, and video, and draw attention to the performative, political, and ethical potential of gesture. This article traces Rao’s practice as a minor inhabitation of kathakali and everyday gesture. Following performance theorist Erin Manning (2016), I understand the “minor” to be a force that scrambles normative hierarchies of value and organization from within the intervals of the “major.” Rao’s minor practice retools the four-hundred-year-old dance-drama form to produce new sensory-kinesthetic knowledge of quotidian regimes. In works such as The Non-Stop Feel-Good Show, Khol Do, and A Deep Fried Jam, Rao straddles kathakali’s mythical economy, conventions, and physicality alongside snippets from contemporary news media, ideologically inflected historical narratives, and socially normative dress and behavior codes, to reveal the extraordinary with/in the everyday, such that we might inhabit the present differently. In distorting, combining, disarticulating, and deterritorializing kathakali’s gestural and expressive vocabulary, Rao invites audiences to partake and follow her into a gestural regime that lies alongside the known. By focusing on the possibilities for affective realignment and queering in a minor register, her experimental and hybrid kathakali-influenced performances impress upon discourses and practices of neoliberal urbanism, national memory, and gender and sexuality in New Delhi today.