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Peer reviewed: True, Previous literature has highlighted that women who have a pregnancy affected by gestational hypertension or preeclampsia are at higher risk of cardiovascular disease (CVD) in later life. However, CVD is a composite of multiple outcomes, including coronary heart disease, heart failure, and stroke, and the risk of both CVD and hypertensive disorders of pregnancy varies by the population studied. We conducted a narrative review of the risk of cardiovascular outcomes for women with prior gestational hypertension and pre-eclampsia. Previous literature is summarized by country and ethnicity, with a higher risk of CVD and coronary heart disease observed after gestational hypertension and a higher risk of CVD, coronary heart disease and heart failure observed after pre-eclampsia in most of the populations studied. Only one study was identified in a low- or middle-income country, and the majority of studies were conducted in white or mixed ethnicity populations. We discuss potential interventions to mitigate cardiovascular risk for these women in different settings and highlight the need for a greater understanding of the epidemiology of CVD risk after gestational hypertension and pre-eclampsia outside of high-income, white populations.

Supplemental Material, sj-pdf-1-ajl-10.1177_15598276211037964 for Maternal Cardiovascular Disease After Pre-Eclampsia and Gestational Hypertension: A Narrative Review by Clare Oliver-Williams, Jasmine D. Johnson and Catherine J. Vladutiu in American Journal of Lifestyle Medicine

Distributive inequity in funding for ALAANA (Asian/South Asian, Latinx, African /Black, Arab/Middle-Eastern, Native/Indigenous Americans) arts organizations has plagued the sector for decades. Rooted in the systemic racial issues of America, a lack of collective reckoning has allowed this issue to persist. Previous research has proved the presence of this profound issue within the arts and culture sector and it hinders society from experiencing the panoply of artistic expression that ALAANA organizations bring. Studies have given suggestions to donors and funders alike, offering tips and techniques to help them reassess their own distributive tendencies and recognize areas where they have perpetuated the inequities. Yet, more research should be done to provide thoughts, concerns, and suggestions from the perspective of organizations who suffer from distributive inequity. This paper reaffirms the presence of distributive inequity in funding and gives six local organizations the space to voice their opinions. As a qualitative case study, it adds more detail from the perspective of the organizations, which has not been fully shown in previous research. It revealed that ALAANA arts organizations want donors and funders to make a concerted effort to disrupt the current nonprofit system and focus on relationship building within the nonprofit arts sector.

Probuphine (buprenorphine) subdermal implants for the treatment of opioid-dependent patients.

Dancing Africa, Making Diaspora concerns the industry of West African dance in the United States. Considering the relationship between dance, diaspora, and belonging, Dancing Africa works to reveal the power of dance in shaping participants' individual and collective identities through the premise of African connectedness. In other words, this dissertation considers West African dance as a meaning-making practice. Through the study of multiple West African dance and drum contexts - a Broadway show, dance classes in one Californian community center, a dance "homecoming" workshop in Guinea - it interrogates the ways everyday people (those typically excluded by the field's privileging of textual archives) conceptualize, embody, and make use of the African diaspora. Ultimately, this dissertation shows how dance links the symbolic and physical dimensions of diaspora: the imaginative work that fosters diasporic connectedness and the physical movement through and across space that has, and continues to, yield variegated African diasporic communities. This dissertation examines U.S. evocations of Africanness through West African dance in an effort to raise and answer questions about the performative capabilities of West African dance and to investigate the processes by which African diasporic communities are shaped because of and through this dance form. Based largely on ethnographic observations and interviews with West African dance participants, Dancing Africa, Making Diaspora shows how West African dance influences how participants understand what the African diaspora is, and how they see their own raced and gendered bodies in relation to it. This project reveals the bearing that West African dance has on participants' lives by asking the following questions: In what ways did diaspora play a role in the career of West African dance as a formal practice in the US? Why do people take part in West African dance and what "work" does it do for them? How does gender and nationality affect one's positioning in these various communities? And finally, how has the commodification of the form impacted meanings of diaspora, blackness, and Africanness? Dancing Africa reveals the operations through which this dance economy both widens the circle of African diasporic "we" and continues to police its ever-shifting boundaries of belonging.