LIFESTYLE AND WEIGHT MANAGEMENT
Eating healthy foods. This includes fruits, vegetables, and whole
grains. If you eat meat and dairy foods, choose lean meats and low-fat dairy
foods most of the time.Healthy eating also means not eating too much sugar,
fat, or fast foods. You can still have dessert and treats now and then. The
goal is moderation. See Healthy Eating.
Making some kind of physical activity part of your daily
routine. "Physical activity" doesn't have to mean regular visits to the gym or
running marathons. There are lots of other ways to fit activity into your life.
See Healthy Activity.
Not smoking. Weight gain is a big concern for many people who want
to quit smoking. But many people don't gain weight. And it's more of
a health risk to keepsmoking than it is to gain a few extra pounds when you
quit. For information, see the topic Quitting Smoking.
Drinking only moderate amounts of alcohol. That's up to 2 drinks a day
for men, 1 drink a day for women.
Managing stress. Many people find that eating is their way of managing
stress. If you have a lot of stress in your life, it can be hard to focus on
making healthy changes to your lifestyle. For more information about how to
deal with stress, see the topicStress Management.
Becoming more active and improving your eating habits are the two main
ways to reach ahealthy weight.
ACTIVE RECREATION
Recreation is an activity of leisure, leisure being discretionary time.[1] The "need to do something for recreation" is an essential element of human biology and psychology.[2] Recreational activities are often done for enjoyment, amusement, or pleasure and are considered to be "fun".
Recreation is difficult to separate from the general concept of play, which is usually the term for children's recreational activity. Children may playfully imitate activities that reflect the realities of adult life. It has been proposed that play or recreational activities are outlets of or expression of excess energy,
channeling it into socially acceptable activities that fulfill individual as well as societal needs, without need for compulsion, and providing satisfaction and pleasure for the participant.[8] A traditional view holds that work is supported by recreation, recreation being useful to "recharge the battery" so that work
performance is improved. Work, an activity generally performed out of economic necessity and useful for society and organized within the economic framework, however can also be pleasurable and may be self-imposed thus blurring the distinction to recreation. Many activities may be work for one person and recreation for another, or, at an individual level, over time recreational activity may become work, and vice versa. Thus, for a musician, playing an instrument may be at one time a profession, and at another a recreation. Similarly, it may be difficult to separate education from recreation as in the case ofrecreational mathematics.[9]
human activities, a few examples being reading, playing or listening to music, watching movies or TV, gardening, hunting, sports, studies, and travel. Some recreational activities - such as
gambling, recreational drug use, or delinquent activities - may violate societal norms and laws. Public space such as parks and beaches are essential venues for many recreational
activities. Tourism has recognized that many visitors are specifically attracted by recreational offerings. [10] In support of recreational activities government has taken an important role in their creation, maintenance, and organization, and whole industries have developed merchandise or services.
Recreation-related business is an important factor in the economy; it has been estimated that the outdoor recreation sector alone contributes $730 billion annually to the U.S. economy and generates 6.5 million jobs.[11]
INDIVIDUAL AND DUAL SPORTS
The advantage of individual sport is that the player does as he pleases and does not have to listen to the ideas of another player. Dual sports may be a bit complicated as one player has to effectively link his ideas with those of his partner. However, the advantage of dual sport is that the two players complement each other. Athletics can have a single player competing against others, but it can also have a number of players on one team, such as in relay. Other examples of individual sports are boxing, bodybuilding, cycling, surfing, darts, archery, bowling, golf, karate, gymnastics, shooting, squash, taekwondo, yoga and javelin. Examples of dual sports are badminton, chess, synchronized swimming and table tennis. Examples of team sports are hockey, cricket, football, volleyball, basketball, rowing, and handball. A dual sport varies from an individual sport in that it may need a larger playing ground. On the other hand, team sports need the largest area of play not only to accommodate the players, but also the fans.
TEAM SPORTS
Team sports are practiced between opposing teams, where the players interact directly and simultaneously between them to achieve an objective. The objective generally involves teammates facilitating the movement of a ball or similar object in accordance with a set of rules, in order to score points.
However, other types of team sports do not involve teammates facilitating the movement of a ball or similar item in accordance with a set of rules, in order to score points. For
example, swimming, rowing, sailing, dragon boat racing, and track and field among others are also team sports.[2] In other types of team sports there may not be an opposing team or point scoring, for
example, mountaineering. Instead of points scored against an opposing team, the relative difficulty of the climb or walk is the measure of the achievement.
In some sports where participants are entered by a team, they do not only compete against members of other teams but also against each other for points towards championship standings. For
example, motorsport, particularly Formula One. In cycling however, team members whilst still in competition with each other, will also work towards assisting one, usually a specialist, member of the team to the highest possible finishing position. This process is known as team orders and although previously accepted was banned in Formula One[3] between 2002 and 2010. After a controversy involving team orders at the 2010 German Grand Prix however, the regulation was removed as of the 2011 season.[4]
FITNESS ACTIVITIES
Exercise is a structured program of activity geared toward achieving or maintaining physical fitness. It is actually a subcategory of physical activity.
Physical activity is any form of exercise or movement of the body that uses energy. Some of
your daily life activities—doing active chores around the house, yard work, walking the dog—are examples.
Aerobic activities make you breathe harder and make your heart and blood vessels healthier. These include:
Walking
Dancing
Swimming
Water aerobics Jogging and running
Aerobic exercise classes
Bicycle riding (stationary or on a path)
Some gardening activities, such as raking and pushing a lawn mower
Tennis
Golfing (without a cart)
Musclestrengthening activities build up your strength. These activities work all the different parts of the body—legs, hips, back, chest, stomach, shoulders, and arms—and include:
Heavy gardening (digging, shoveling)
Lifting weights
Pushups on the floor or against the wall
Situps
Working with resistance bands (long, wide rubber strips that stretch)
Pilates
Flexibilityenhancing activities ensure a good range of motion in the joints. Loss of flexibility can be a predisposing factor for physical issues, such as pain syndromes or balance disorders. Gender, age, and genetics may all influence range of motion. Flexibility exercises include:
Stretching
Yoga
Tai Chi or Qi Gong
Pilates
What is fitness?
Fitness includes cardiovascular functioning, which is improved by aerobic activities that get your heart and lungs working faster. It also includes muscle strength, flexibility, and balance.
GUIDELINE AND CRITERIA IN THE SELECTION AND EVALUATION OF HEALTH
INFORMATION,PRODUCTS AND SERVICES
because resources available to improve global health are limited, it is becoming increasingly important for those who produce and disseminate health-related information and services to gauge the impact of their work. Indeed, information programs are often asked to
demonstrate how their products and services “make a difference.” However, while there are a variety of published M&E guidelines for other health program components (e.g., quality, logistics, management) and for health activities directed at specific populations (e.g., youth, men), few guidelines pertain specifically to assessing information products and services.
Consequently, the Guide to Monitoring and Evaluating Health Information Products and
1. provide a core list of indicators to measure the reach, usefulness, use, and impact of information services and products in a consistent way;
2. improve monitoring and evaluation by simplifying the selection and application of indicators; and
3. define, standardize, and categorize indicators so as to promote agreement on their appropriate application and interpretation.
The Guide offers guidance and 29 indicators to measure how information products and services contribute to improving health programs. The Guide includes the “Conceptual Framework for Monitoring and Evaluating Health Information Products and Services” (see p. 5), which illustrates how improving the reach and usefulness of information products and services facilitates and increases their use—which in turn enhances public health policy and practice. Together, the elements in the Guide can help health professionals to better
evaluate the contribution of their knowledge management work to crucial health outcomes.
HEALTH PROVIDERS
A health professional or healthcare provider is an individual who provides preventive, curative,
promotional or rehabilitative health care services in a systematic way to people, families or communities. A health professional may operate within all branches of health care,
including medicine, surgery, dentistry, midwifery, pharmacy, psychology, nursing or allied health professions. A health professional may also be a public/community health expertee working for the common good of the society.
Health facilities are places that provide health care. They include hospitals, clinics, outpatient care centers, and specialized care centers, such as birthing centers and psychiatric care centers.
When you choose a health facility, you might want to consider
How close it is to where you live or work
Whether your health insurance will pay for services there
Whether your health care provider can treat you there
The quality of the facility
Quality is important. Some facilities do a better job than others. One way to learn about the quality of a facility is to look at report cards developed by federal, state, and consumer groups.
Health care plans and financing systems-There is a wide variety of health systems around the world, with as many histories and organizational structures as there are nations. Implicitly, nations must design and develop health systems in accordance with their needs and resources, although common elements in virtually all health systems are primary healthcare and public health measures.[1] In some countries, health system planning is distributed among market participants. In others, there is a concerted effort
IMPRESSIONISM
Impressionism in music was a movement among various composers in Western classical music, mainly during the late 19th and early 20th centuries, whose music focuses on suggestion and atmosphere, "conveying the moods and emotions aroused by the subject rather than a detailed tone‐picture".
[1] “Impressionism” is a philosophical and aesthetic term borrowed from late 19th century French painting after Monet’s Impression, Sunrise. Musicians were labeled impressionists by analogy to the impressionist painters who use starkly contrasting colors, effect of light on an object blurry foreground and background, flattening perspective to make us focus our attention on the overall impression.[2]
The most prominent in musical impressionism is the use of “color”, or in musical term, timbre, which can be achieved throughorchestration, harmonic usage, texture, etc.[3] Other elements of music impressionism involve also new chord combinations,ambiguous tonality, extended harmonies, use of modes and exotic scales, parallel motions, extra-musicality, and evocative titles such as Reflets dans l'eau ("Reflections on the water", 1905), Brouillards ("Mists", 1913) etc.[2]
Claude Debussy and Maurice Ravel are two leading figures in impressionism, though Debussy rejected this label (he mentioned in his letter that “imbeciles call ‘impressionism,’ a term employed with the utmost inaccuracy.”).[4] Debussy’s impressionist works typically “evoke a mood, feeling, atmosphere, or scene” by creating musical images through characteristic motifs, harmony, exotic scales (e.g. whole-tone scale, pentatonic scales), instrumental timbre and other elements,[5] whereas Ravel’s impressionist or symbolist works are essentially represented in a more precise and intelligible way.[6] Some impressionist musicians, Debussy and Ravel in particular, are also labeled as symbolist musicians. One trait shared with both aesthetic trends is “a sense of detached observation: rather than expressing deeply felt emotion or telling a story,” as in symbolist poetry, the normal syntax is usually disrupted and individual images that carry the work’s meaning are evoked.[7]
Ernest Fanelli was claimed to have innovated the style in the early 1880s, though his works were unperformed before 1912. The performance of his works in that year led to claims that he was the father of musical Impressionism. Ravel wrote, "this impressionism is certainly very different from that of present-day composers...Mr. Fanelli's impressionism derives more directly from Berlioz." He added that Fanelli's alleged priority does not in any way diminish the achievements of later composers: "the investigations of the young Fanelli could not have diminished those of his colleagues...It is peculiar that these
investigations suddenly assume importance because their embryo is discovered in a work written 30 years ago."[8]
Claude-Achille Debussy[1] (French: [klod a il d bysi]ʃ ə ;[2] 22 August 1862 – 25 March 1918) was a French composer. Along with Maurice Ravel, he was one of the most prominent figures associated with Impressionist music, though he himself disliked the term when applied to his compositions.[3] He was made Chevalier of the Legion of Honour in his native France in 1903. [4] Debussy was among the most influential composers of the late 19th and early 20th centuries, and his use of non-traditional scales
and chromaticism influenced many composers who followed.[5]
Debussy's music is noted for its sensory content and frequent usage of nontraditional tonalities.[6] The prominent French literary style of his period was known as Symbolism, and this movement directly inspired Debussy both as a composer and as an active cultural participant.[7]
Joseph Maurice Ravel (French: [ʒɔ ɛz f mɔʁ ʁ ɛis av l]; 7 March 1875 – 28 December 1937) was a French composer, pianist and conductor. He is often associated with impressionism along with his elder contemporary Claude Debussy, although both
composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer. Born to a music-loving family, Ravel attended FraParis Conservatoire; he was not well regarded by its conservative establishment, whose biased treatment of him caused a scandal. After leaving nce's premier music college, the the conservatoire Ravel found his own way as a composer, developing a style of great clarity, incorporating elements
of baroque, neoclassicism and, in his later works, jazz. He liked to experiment with musical form, as in his best-known
work, Boléro (1928), in which repetition takes the place of development. He made some orchestral arrangements of other composers' music, of which his 1922 version
of Mussorgsky's Pictures at an Exhibition is the best known. As a slow and painstaking worker, Ravel composed fewer pieces than many of his contemporaries. Among his works to enter the repertoire are pieces for piano, chamber music, two piano concertos, ballet music, two operas, and eight song cycles; he wrote no symphonies or religious works. Many of his works exist in two versions: a first, piano score and a later orchestration. Some of his piano music, such as Gaspard de la nuit (1908), is exceptionally difficult to play, and his complex orchestral works such as Daphnis et Chloé(1912) require skilful balance in performance. Ravel was among the first composers to recognise the potential of recording to bring their music to a wider public. From the 1920s, despite limited technique as a pianist or conductor, he took part in recordings of several of his works; others were made under his supervision.
EXPRESSIONISM
The term expressionism "was probably first applied to music in 1918, especially to Schoenberg", because like the painter Wassily Kandinsky (1866–1944) he avoided "traditional forms of beauty" to convey powerful feelings in his music (Sadie 1991, 244). Theodor Adorno sees the expressionist movement in music, as seeking to "eliminate all of traditional music's conventional elements, everything formulaically rigid". This he sees as analogous "to the literary ideal of the 'scream' ". As well Adorno
depiction of fear lies at the centre" of expressionist music, with dissonance predominating, so that the "harmonious, affirmative element of art is banished" (Adorno 2009, 275–76).
The three central figures of musical expressionism are Arnold Schoenberg (1874–1951) and his
pupils, Anton Webern (1883–1945) and Alban Berg (1885–1935), the so-calledSecond Viennese School. Other composers that have been associated with expressionism are Ernst Krenek (1900–1991) (the Second Symphony, 1922), Paul Hindemith (1895–1963) (Die junge Magd, Op. 23b, 1922, setting six poems of Georg Trakl), Igor Stravinsky (1882–1971) (Three Japanese Lyrics, 1913), Alexander
Scriabin (1872–1915) (late piano sonatas) (Adorno 2009, 275). Another significant expressionist was Béla Bartók (1881–1945) in early works, written in the second decade of the 20th century, such asBluebeard's Castle (1911) (Gagné 2011, 92), The Wooden Prince (1917) (Clements 2007), and The Miraculous Mandarin (1919) (Bayley 2001, 152). American compsoers with a sympathetic "urge for such
intensification of expression" who were active in the same period as Schoenberg's expressionist free atonal compositions (between 1908 and 1921) include Carl Ruggles, Dane Rudhyar, and, "to a certain extent", Charles Ives, whose song "Walt Whitman" is a particularly clear example (Carter 1965, 9). Important precursors of expressionism are Richard Wagner (1813–1883), Gustav Mahler (1860–1911), and Richard Strauss (1864–1949) (Anon. 2000; Mitchell 2005, 334). Later composers, such asPeter Maxwell Davies (1934–2016), "have sometimes been seen as perpetuating the Expressionism of
Schoenberg, Berg, and Webern" (Griffiths 2002), and Heinz Holliger's (b. 1939) most distinctive trait "is an intensely engaged evocation of … the essentially lyric expressionism found in Schoenberg, Berg and, especially, Webern" (Whittall 1999, 38).
Arnold Schoenberg
Musical expressionism is closely associated with the music Arnold Schoenberg composed between 1908 and 1921, which is his period of "free atonal" composition, before he devised twelve-tone technique (Schoenberg 1975, 207–208). Compositions from the same period with similar traits, particularly works by his pupils Alban Berg and Anton Webern, are often also included under this rubric, and the term has also been used pejoratively by musical journalists to describe any music in which the composer's attempts at personal expression overcome coherence or are merely used in opposition to traditional forms and practices (Fanning 2001). It can therefore be said to begin with
Schoenberg'sSecond String Quartet (written 1907–08) in which each of the four movements gets progressively less tonal (Fanning 2001). The third movement is arguably atonal and the introduction to the final movement is very chromatic, arguably has no tonal centre, and features a soprano singing "Ich fühle Luft von anderem Planeten" ("I feel the air of another planet"), taken from a poem by Stefan George. This may be representative of
Schoenberg entering the "new world" of atonality (Fanning 2001).
In 1909, Schoenberg composed the one-act 'monodrama' Erwartung (Expectation). This is a thirty-minute, highly expressionist work in which atonal music accompanies a musical drama centered around a
nameless woman. Having stumbled through a disturbing forest, trying to find her lover, she reaches open countryside. She stumbles across the corpse of her lover near the house of another woman, and from that point on the drama is purely psychological: the woman denies what she sees and then worries that it was she who killed him. The plot is entirely played out from the subjective point of view of the woman, and her emotional distress is reflected in the music.[citation needed] The author of the libretto, Marie Pappenheim, was a recently graduated medical student familiar with Freud's newly developed theories of
In 1909, Schoenberg completed the Five Pieces for Orchestra. These were constructed freely, based upon the subconscious will, unmediated by the conscious, anticipating the main shared ideal of the composer's relationship with the painter Wassily Kandinsky. As such, the works attempt to avoid a recognisable form, although the extent to which they achieve this is debatable.[citation needed]
Between 1908 and 1913, Schoenberg was also working on a musical drama, Die glückliche Hand. The music is again atonal. The plot begins with an unnamed man, cowered in the centre of the stage with a beast upon his back. The man's wife has left him for another man; he is in anguish. She attempts to return to him, but in his pain he does not see her. Then, to prove himself, the man goes to a forge, and in a strangely Wagnerian scene (although not musically), forges a masterpiece, even with the other
blacksmiths showing aggression towards him. The woman returns, and the man implores her to stay with him, but she kicks a rock upon him, and the final image of the act is of the man once again cowered with the beast upon his back.[original research?]
This plot is highly symbolic, written as it was by Schoenberg himself, at around the time when his wife had left him for a short while for the painter Richard Gerstl. Although she had returned by the time Schoenberg began the work, their relationship was far from easy (Biersdorfer 2009). The central forging scene is seen as representative of Schoenberg's disappointment at the negative popular reaction to his works. His desire was to create a masterpiece, as the protagonist does. Once again, Schoenberg is expressing his real life difficulties.
In around 1911, the painter Wassily Kandinsky wrote a letter to Schoenberg, which initiated a long lasting friendship and working relationship. The two artists shared a similar viewpoint, that art should express the subconscious (the "inner necessity") unfettered by the conscious. Kandinsky's Concerning The Spiritual In Art (1914) expounds this view. The two exchanged their own paintings with each other, and
Schoenberg contributed articles to Kandinsky's publication Der Blaue Reiter. This inter-disciplinary relationship is perhaps the most important relationship in musical expressionism, other than that between the members of the Second Viennese School.[citation needed] The inter-disciplinary nature of expressionism found an outlet in Schoenberg's paintings, encouraged by Kandinsky. An example is the self-portrait Red Gaze (see Archived link), in which the red eyes are the window to Schoenberg's subconscious.
ELECTRONIC MUSIC
Electronic music is music that employs electronic musical instruments and electronic music
technology in its production, anelectronic musician being a musician who composes and/or performs such music. In general a distinction can be made between sound produced using electromechanical means and that produced using electronic technology.[1] Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, and the electric guitar. Purely electronic sound production can be achieved using devices such as the theremin, sound synthesizer, and computer.[2] The first electronic devices for performing music were developed at the end of the 19th century, and shortly afterward ItalianFuturists explored sounds that had previously not been considered musical. During the 1920s and 1930s, electronic instruments were introduced and the first compositions for electronic instruments were composed. By the 1940s, magnetic audio tape allowed musicians to tape sounds and then modify them by changing the tape speed or direction, leading to the development ofelectroacoustic tape music in the 1940s, in Egypt and France. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds. Music
produced solely from electronic generators was first produced in Germany in 1953. Electronic music was also created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers for the purpose of composing music. Algorithmic composition was first
demonstrated in Australia in 1951.
In the 1970s, electronic music began having a significant influence on popular music, with the adoption of polyphonic synthesizerssuch as the Yamaha GX-1 and Prophet-5, electronic drums, and drum machines such as the Roland CR-78, through the emergence of genres such as krautrock, disco, new wave and synthpop. In the 1980s, electronic music became more dominant in popular music, with a greater reliance on synthesizers, and the adoption of programmable drum machines such as the Roland TR-808 and TR-909 and the Linn LM-1, and bass synthesizers such as the Roland TB-303. In the early 1980s, a group of musicians and music merchants developed the Musical Instrument Digital Interface (MIDI), and Yamahareleased the first FM digital synthesizer, the DX7.
Electronically produced music became prevalent in the popular domain by the 1990s, because of the advent of affordable music technology.[3] Contemporary electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music.Today, pop electronic music is most recognizable in its 4/4 form and vastly more connected with the mainstream culture as opposed to its preceding forms which were specialized to niche markets.[4]
CHANCE MUSIC
Aleatoricmusic (also aleatory music or chance music; from the Latin word alea, meaning "dice") is music in which some element of the composition is left to chance, and/or some primary element of a composed work's realization is left to the determination of its performer(s). The term is most often associated with procedures in which the chance element involves a relatively limited number of possibilities.
The term became known to European composers through lectures by acoustician Werner Meyer-Eppler at the Darmstadt International Summer Courses for New Music in the beginning of the 1950s. According to his definition, “a process is said to be aleatoric […] if its course is determined in general but depends on chance in detail” (Meyer-Eppler 1957, 55). Through a confusion of Meyer-Eppler's German terms Aleatorik (noun) and aleatorisch (adjective), his translator created a new English word, "aleatoric" (rather than using the existing English adjective "aleatory"), which quickly became fashionable and has persisted (Jacobs 1966). More recently, the variant "aleatoriality" has been introduced (Roig-Francolí 2008, 340).
PREVENTING SELF HARM
Self-injury behaviors are any behaviors that a person does with the purpose of hurting oneself. How to stop self-harm once you start though can be a big problem.
Some people may self-injure (also known as self-harm or self-mutilation) only once, while most will engage in self-harm behaviors multiple times.
Many people go on to years though because they find it so difficult to stop self-harm. (read about Self-Harm in Adults)
But it is possible to change self-harm behaviors – it is possible to stop self-injury. To stop self-mutilation, though, many things need to change, including:
The environment
A support system
Thought patterns
It's also important to know about self-harm alternatives and to gain some insight into why you self-harm or what triggers your self-injury behaviors. This self-injury test can help with that part.
Stop Self-Harm Behaviors by Changing the Environment
Do you self-injure at a specific time of day?
Do you self-harm in a specific place?
Do you use certain tools to self-mutilate?
Do you have a ritual around your self-harm?
Knowing the answers to these questions can help you change those aspects of your environment that contribute to your self-harm behaviors. (Causes of Self-Injury)
Changing the environment can be done once the urge to self-harm strikes, but it's easier to do before the urge comes.
For example, to help stop self-harm, you can:1
Keep yourself busy at the times of day you are likely to self-harm. Don't be alone during these times.
Stay away from any place where you typically self-injure.
Throw away any tools used to self-mutilate. (Ways People Self Harm) If you can't throw them away, make them as inaccessible as possible.
Stop yourself from committing self-harm rituals by adding or removing steps from them. Altering your rituals will likely make you uncomfortable and this discomfort can help stop self-harm.
Stop Self-Injury by Getting Support and Help
Many people battle to stop self-mutilation but lose this battle when fighting alone. It's only once they gain the support of others that they can stop self-harming behaviors. Self-injury help and support can come from professional sources such as a self-harm treatment center, program or psychotherapist, or it can come from friends, family members or others. The important thing is to have supportive people around you who you can turn to for help when you need it. If you feel the urge to self-harm, call one of these supports and have them talk or sit with you. This can be one of the easiest ways to stop self-mutilation.
Stop Self-Mutilation by Changing Your Thoughts
Changing the way you think is no easy task; that is for sure. However, changing some of the negative thoughts that lead to self-injury is possible and important. Just like with the environment, first it's important to analyze the thoughts surrounding self-harm in order to better understand and challenge them. Some questions to think about might be:
How accurate are my thoughts surrounding self-harm?
Are my negative thoughts reasonable?
What are my thoughts right before I self-harm?
Handling those thoughts can be tricky but there are techniques used to challenge, stop and alter negative thoughts of self-harm.
Challenge the negative thoughts – you'll likely find that many of them aren't true but only feel true at the time.
If you find yourself in a spiral of negative thoughts, think (or even shout) stop and change your thoughts to something else.
Reframe negative thoughts. For example, instead of thinking, "I'm so dumb for hurting myself." Think, "I did what I needed to do to take care of myself. I will do better next time."
These self-harm thought-altering techniques may take a lot of practice to work. A therapist can help you with more self-harm stopping techniques.
Self-Harm Alternatives
Self-injury alternatives include:2
Punching a pillow or a punching bag
Squeezing ice cubes; putting your face in a bowl of ice water
Eating chili or other spicy food
Taking a very cold shower
Drawing on your body instead of cutting it
Strenuous exercise
Of course, the best self-harm alternative is likely to reach out and talk to someone about how you are feeling.
PREVENTING A CULTURE OF NON VIOLENCE THROUGH HEALTHFUL BEHAVIORS
Strengthening peace and non-violence through education, advocacy and media including ICTs and social networks
Developing the use of heritage and contemporary creativity as tools for building peace through dialogue
Strengthening social cohesion and contributing to the African Renaissance through the introduction of the General History of Africa into formal and non-formal education settings Promoting scientific and cultural cooperation for the management of natural transboundary
resources
