When the mirror becomes an icon in the process of individual self-representation, as an essential reflection of the psychology of the figure, it explores the propositions of “gaze” and “self.” It is also a reflection of reality and illusion. The traces of childbirth and aging for women are plentiful and beautiful, and the skin forms that everyone has in some form or another should not be a source of anxiety. When women face the mirror, it is a process of self-expression, reflection, and self-enlightenment, while the scene in the present becomes private space.

In previous research, I have found that when people look in the mirror, they first notice what they think is ‘unattractive’ about themselves and exaggerate these ‘flaws.’ Still, when they look at others, they prioritize what is beautiful. The desire to explore the desires and imaginations of the human heart from a different perspective by painting on mirrors. They communicate the body through a completely artificial shape, empowering women while making them the decision-makers.

So I prepared some mirrors and acrylic paints and sought out women who had ideas about body shame, hoping to connect with them in this way and share their stories.

1. Cici, 27 years old, model

She was trying to convey that when she was looking in the mirror, she saw the delicate makeup on her face, like a color palette, and that being bombarded by social media daily had almost caused her anxiety to rise. She almost didn’t recognize herself anymore—so many colors representing the influence of social media (outside influences). During the painting process, I asked her what color she wished she was, and she said white; she expected she could be thin and look better and pure like white.

2. Cheng, 25 years old, teacher

I have gone through plastic surgery, I have adjusted my nose and chin, the mirror part is what has been lost, the escape from the real world due to the lack of confidence and anxiety about my appearance, the pink part is what I see as my flaws that have been covered up, the white part represents the self I want to express, such as the inner body resistance and anxiety.

3、Tian, 23 years old, blogger

I paint colors on the mirror that look like outside eyes, reflecting on my face and examining me. When the water stain at the bottom appears, we don’t care at first, but then it changes color and stays on the piece, changing my face with it. My feedback has gradually calmed down, especially when I realize that I am the mirror, and I can no longer go with the flow because the mirrors are constantly feeding off the opinions of others, and these mirrors have already been tarnished.

4. Yu, 18 years old, student

I hate my double chin, which is particularly conspicuous when I see myself in the mirror, so I get more anxious. I can’t look at myself in the mirror; I cover my eyes in red and draw a lot of red roses around me; I want what I see to be beautiful. And when I faced the mirror again, my mirror self between deception and fantasy made me stop, and I started to rethink who I was.

5、Ming, 30, Photographer

I am a breast cancer patient, and when I look in the mirror, it is not my face that concerns me, but my breasts, which I know are different from others and cannot be changed, even if I always wear wide clothes to cover them up.

6、Kylee, 25 years old, journalist

I am a journalist, but my face never appears on the TV screen. When I see myself in the mirror, it creates a strong feeling of anxiety, so I draw people around me, why others can have long, thin necks and beautiful features, this strong contrast affects me, and I get more anxious.

7、Vicky, 25 years old, art editor

When I face the mirror, I want to draw a cute little ghost, which is the epitome of my inner self. The mainstream media’s confinement of my aesthetics, this oppression makes me breathless, but my heart is still longing for myself and the future. When I finished the painting, I made some changes because I wasn’t happy with some parts, and when I revisited it, I realized that it looked like a mother holding her child. It made me feel outstanding to think that my mother gave me my looks and gave me the unique thing in this world.

8、Huang, 18 years old, student

When I look in the mirror, I see me as I am, as I am imprisoned because one has to fit in with society and therefore shape up; as a qualified mother, as an eligible student, I cannot jump out of this shackle, my eyes represent me knowing all this, and under the influence of this emotion, it deepens my anxiety, in my painting, the tide of people drowning us like waves, the net formed by the gaze of the crowd I want to escape. Still, in front of this vast net, I seem to have nowhere to go, and in the end, even when I jump out, I am still in the net. When I finish painting this, do I get anxious, you ask? I would answer yes, but can I not be nervous? Will I be free and happy? I would.

In my intervention, I found that they experienced anxiety when looking in the mirror, even to the point where some could not continue because they could not look at their faces. Still, after experiencing body talk, both parties increased their satisfaction with the body image. One partner’s devaluation of the self is often accompanied by an overestimation by the other, forcing a rethinking of the “perfect body. Should women continue to examine themselves from the first perspective, given the socially inhibiting environment? Or can body shame be better alleviated by using a third perspective to explore the body, thus turning attention more accurately and objectively to the actual characteristics of their physical form, without being influenced by their previous negative beliefs about themselves?

“Our body is our body, and what she has experienced, whether it is a physical experience or a spiritual one, what she has made, has shaped into your position.”

“I am therefore my body, at least to the full extent of my experience, and vice versa, and my body is like a natural subject, like a temporary prototype of my whole being.” (Merleau-Ponty, The Phenomenology of Perception

“Woman, like man, is her body, but her body is something different from her.”

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I got three girls to measure different parts of their bodies with a tape measure and to be at their most comfortable and at their body parts.

When measuring, the girls were curious, but in the process of measuring, we judged ourselves by a so-called “standard,” and the girls responded that they were not happy, proving that this did not make them better. So we find that when we look at numbers, they are just numbers and do not bring us happiness. But when the girls are entirely loose and let go of their bodies, they are happy. That’s the answer I got. When standards or numbers are insight, they are not your body, much less you.

I recently made a pact with a friend and we both decided to spend a day walking around the city in our pyjamas and we took some photos. Throughout the process, I found that while we were in a very natural state, we were not surrounded by stress and influence, so I discovered that we might actually be able to influence our environment.

In a way, when pyjamas are simultaneously comfortable and good-looking, it is also a direction in which the feminine consciousness is developing.

To me, going out in pajamas is not a sign of slovenliness or bad manners, but more of a personal choice and a phenomenal expression of personal awareness.
So I contacted a burn victim and had a text conversation with her.

Metaphor Inspiration – Opening Metaphors through the Body

“The boundary between sound and noise, the

The boundary between sound and silence

The dissociation between sound and image.”

When we gaze at something we know, we suddenly feel unfamiliar with words, scenes, and people who were once familiar. In order to achieve this transition from the imaginary to the real, three ways are used to embody the “sense of Judas,” which is abstract and emotional, with factual content. The most intuitive way is to use the change of music rhythm; the second way is to use the change of proper size, and the last way is to mobilize women’s emotions to breathe life into them. The three are combined to construct a mist-like emotional ecology. The ambiance is ethereal, the image is clear, and the virtual and the real appear once again, just as the “Judas sense” to be explored, with the proper distance, but with a subtle emotional resonance with the viewer.

How do gender norms shape women when a reconceptualization of gender and identity seeks to establish a certain new kind of individualism?

Take, for example, the coughing and wheezing of (Butterfly Woman Sleeping) (1967) and the disturbing monologue in (Self-Portrait as Another Person) (1965) from artist Lynn Hershman Leeson’s series Breathing Machine (which asks. “What are you afraid of?” and says, “I feel close to you.”) are full of Lynn’s ideas about “being seduced by the machine.” I wanted to explore this “gender interaction” through music.

Music as an atmosphere, but also as a form of dialogue, a glimpse into society’s unspoken attitudes towards women through a virtual female identity, and a lens through which stakeholders can examine their own female identities.

My subjects are Chinese women between the ages of 18-30 .

To feel the collision of space, sound, and one’s own body in space and time through music, to release one’s body and language in the most sustained and direct way of concrete perception, thus crossing over into unknown contexts, feelings and perceptions, thus discovering and expressing the most authentic and free self.

1. Opening metaphors through the body (expressing music through the body, e.g., baby-like curling, animals, plants, etc.)

Enter the musical space under a series of different physical guidance and control, enter into a deeper and more direct physical connection, enjoy the freedom and diversity of conveying the text, and feel the true power and meaning of language.

2. Group meditation, sharing, and constructive rest

Intervention process

Music 1:

Scenario: If a tsunami swallowed you up, what would you be when coming ashore?

A: Imagine me as a newborn baby in my mother’s body. At that moment, I forget my original surroundings, curl up on the ground reflecting the water waves, look at myself, become aware, and go to an imaginary time and space.

B: Open your eyes wide and look at the world carefully.

Music 2:

Scenario: What do you want to do at this moment, when the world is just you?

A: Take a walk around the world, want to put down your phone, turn off all electronic devices, even if you can’t go far away, but it’s good to sit in any corner and look up at the night sky.

B: Talking to the Universe

Stakeholder sentiments.

A: By looking at ourselves, paying attention to others, observing life, and cultivating awareness, I think that everyone can tap into the best creative material, and we can be a source of material and inspiration for ourselves and others, and everyone can have the ability to turn a problem into a poem. In the future, I am willing to find the courage to experiment more with improvisation and learn to express my true self more boldly and freely.

B: When I am in a new environment, my imagination and my mirror, I am immersed and happy.

Conclusion：

By unleashing their bodies and words, women can step into unknown contexts, feelings, and perceptions. Together we find out how to use language as a vehicle to create a space of mutual trust; together, we discover and express our most authentic and free selves. The power of women is immense, and there are many women today who have achieved great success in their work. When women can participate more fully in economic, political, and civic life, the benefits extend to their families, communities, and countries. But there is also the issue of addressing the perception that women’s judgment is biased towards emotion, which can cloud their judgment and maximize their capabilities.

https://drive.google.com/file/d/16iJUJSBZUdCd2KAe2UnZYUvTMzQMxfoB/view?usp=sharing

In the past few months, we’ve traded in cubicles for home offices (or couches), swapped salads for sourdough, and relied on Zoom more than we ever thought we would. With all those shifts, it’s no surprise that what we wear on a daily basis has also changed: Gone are the days of business casual or office-appropriate clothing. Now, we’re all finding a lot of comfort in sweatpants, and, in a twist anyone with breasts saw coming, many women have chosen to forgo wearing a bra.

It makes a lot of sense. Who wants to be poked and prodded by underwire when they’re wearing their coziest clothes and have nowhere to go? But while ditching a bra might offer some temporary comfort, you probably haven’t thought about the long-term effects of not wearing a bra. So, what’s the deal? What really happens to your breasts when you stop wearing a bra?

Turns out, it’s a little complicated. We talked to a handful of experts, and the verdict on whether wearing a bra is actually bad for your breasts (or for you) is still out. At the end of the day (or the beginning, in this case), whether you want to put on a bra is entirely up to you, but knowing all the potential risks and consequences can help you make the best decision for you.

Intervention: Bras & Bondage

Stakeholder:
18-30 years old Women who have never tried wearing no underwear

Intervention: A day without bra

I got two friends to try the experiment and here is their feedback

I found two stakeholders to join my convention and here is the feedback from them

A:The moment I undid my bra, it was like a fish that had leapt out of the tank and been picked up and put back in, free, comfortable and even cozy.
Of course I’ve never tried going out without underwear, it’s so internalised that I’d probably feel like running around naked without it.
I’ve thought about trying to go without underwear, but my surroundings don’t allow me to do so. If I were living in a different environment I would probably try to take off my underwear because it’s so comfortable without it hahahahahaha and I want my body to be free in any environment.

A:I think bra and underwear are fundamentally the same in nature, but the bra is just a different type of bondage, so I would not choose to try to go out directly with a bra.

B：The main underwear brands that are now comfortable are also gimmicky, with steel rings being phased out but side but still with the addition of gel bones to collect side boobs. Not wearing them is always more comfortable than wearing them, and breast patches and tank tops have come about because we are disenfranchised but conscious of this inexplicable shame, so we compromise after feeling uncomfortable. For example, women recommend less stifling ways of covering their nipples to each other, adding time and effort costs and paying money, but men have not had this trouble since they were born.

The first picture was taken with my friend and I. It is actually a composite picture, the crowd in front and behind is an illusion, we want to express the blurring of women’s sense of self in the external environment. When women are not sheltered by their clothes, their fear of the outside world and their uncertainty about themselves are mixed together.

The second image shows a bra with the clasp undone and a bra without the clasp undone, they do not look different together, but when they are on the woman’s body, the woman feels very different. Wearing an ill-fitting bra for a long time can actually affect chest breathing and respiratory muscle fatigue

When this intervention was over, I found that the women themselves were positive about being comfortable without a bra, but could not accept themselves going out without one. It is only

Not wearing underwear is a very comfortable thing to do, especially in summer. Some good looking suspenders, and bras can detract from their aesthetic appeal. The reasons why women wear bras range from admonitions from their mothers at an early age, to having to wear them today because of the shame of exposure, or because they really feel that it helps them to have a more perfect figure. Much of this shame comes from our social environment, which is relatively conservative, especially when it comes to female exposure, and the subtle thought that women themselves cannot accept being exposed. After doing this intervention, I found that the women themselves were positive about being comfortable without a bra, but could not accept themselves going out without one.

When this intervention was over, I found that the women themselves were positive about being comfortable without a bra, but could not accept themselves going out without one. It is only when women really face themselves and put their own needs first that they can truly achieve a greater sense of self

So I interviewed Luo Mei, a PhD in film, to ask her about the male gaze in film and asked her

Visual art is the art of ‘seeing’, but it is the ‘how’ of seeing that may be the learning curve. Is it possible that we ‘see’ only from a particular standpoint? Or do we look at the world through a pair of tinted glasses? Is it possible to take off these glasses?

The development of visual art in the West was early on a vague sense that ‘seeing’ was a power, not simply a noble aesthetic experience. But it was not until the second half of the 20th century that artists began to seriously reflect on the power of looking in artworks and attempted to remove these ‘glasses of power’.

“The ‘gaze’ is everywhere, and the seemingly neutral values may hide a relationship of domination that is embedded in everyone’s mind. We now live in a world of images: advertisements, the internet, television …… are full of ‘tinted glasses’: why do house advertisements always have to be accompanied by beautiful women? Why are all alcohol advertisements about successful men? And why do thugs often speak Taiwanese? Postmodern art’s rethinking of the gaze is not only about art, but also about our lives themselves. It takes a lot of courage to see through the gaze and to break it, but only when you have the courage to take off these glasses can you see a different landscape.

According to the USC survey results, it reflects the current gender landscape of the Western film industry, or at least the British and American film industries: the overall number of female directors is small, those who have the opportunity to work on big projects are even rarer, and the women who are able to secure independent directing opportunities, in the vast majority of cases they are by default expected to work on small to medium productions of female subjects that will not be screened on a large scale. With films like Mulan and Black Widow both directed by women, it is a very difficult decision for Hollywood to let women lead big productions in the superhero genre, even though both films are based around “big female leads”.

Women directors have a strong desire to express themselves about the male world. They may enter the male perspective without any barriers, as in the case of Kathryn Bigelow, the only woman to win an Academy Award for Best Director, with her consistent masculinity in Detroit, The Hurt Locker and Point Break; they may also dismantle male authority from a female standpoint, detecting marginal experiences that men deliberately suppress or are reluctant to acknowledge, crises of androgyny and troubled gender identity. In either case, the female director’s representation of male subjects does not start from a place of hostility, derogation or negation, and feminist philosopher Judy Butler’s theory of ‘gender resistance’ is appropriate here: the directors and their subjects are doubly interrogating conventional gender propositions, and they and their subjects in the film are working together to change the audience’s They and their subjects work together to change the way audiences think about gender, as women directors practice self-transformation through their work, thereby subverting the homogeneity of identity and gender.

In fact, the problem of female characters in Chinese film and television, like the problem of middle-aged actresses, which has been discussed many times, is not a new one, but in recent years, as female independence has become a major trend of the times, it has been taken seriously.

And the more the times progress, the more it reflects the backward and conservative side of our films and dramas that are either sophomoric, clumsy or incompetent in their portrayal of female characters.

The art critic John Berger once said that women’s grooming and self-expression in public space is not really up to them – “Men act, women show. Men look at women, women see themselves being looked at by men”.

Primary Research

The male gaze is becoming pervasive in all aspects of life, whether in television programs, music videos, or advertisements. Women have been immersed in this environment for so long that they are subconsciously accustomed to seeing from a male perspective and have inadvertently lost their sensitivity to self-examination and the uniqueness of women as individuals.

We all inevitably fall into the vortex of the male gaze. From adolescence onwards, great attention is paid to the outward appearance that one presents to the public. If the question is thrown out, “If you were the only person left in the world, would you still be so concerned with your outside?

In the last week I’ve been looking at feminism and I’ve been looking at the male gaze and the female gaze.

More and more films, photographs or other forms of female gaze are emerging that are essentially pro-woman, and not just feminist.

Their aim is to showcase the intelligence, creativity, complexity and diversity that represent women – across many ethnicities, races, races, religions, sexual orientations, economic backgrounds. It is up to those who identify themselves as girls to break down boundaries and define their own identity, sexuality and beauty.

Bringing it into the hands of women through any medium to express their views, reflect their state of mind, share their interests – whether in politics, fashion, technology, beauty, business – and to show the world how women see it.

Second research

The virile economy refers to the regular economic activity of women as they take the lead in consumption and improve their social status. It has been said that “the 21st century is the ‘her’ century, where women, with their rising socio-economic status and emancipated personalities, are beginning to demand gender equality at all ideological levels, and even ‘de-masculinization,’ and one of the ways they express and One way to fight for their rights is to gaze at men as men gaze at them.” The emergence of the male sex economy is a manifestation of feminism, an image of equal rights for men and women, as women use their consumer power to empower themselves and influence all walks of life.

The term ‘sex’ in this context refers to the beauty that men embody, including masculinity, strength, boldness, and subtlety. The emergence and development of the male sex economy show that women are becoming bolder and more open in expressing their sexual aesthetics, which is a refreshing change in the status and thinking of women.

The virile economy is indeed a natural consequence. From a market perspective, take the example of talent shows that most of the traffic, the consumption, is contributed by girls in the matter of following stars. And in the idol star judging system, the flow is the commercial value of a person. To win the hearts of the female population, the production teams are using every possible means—the virile era of the female economy, which has triggered a fierce war of star-making and red-hot traffic.

The rise of the “virile economy” has challenged men more than women. The virile economy is now so prevalent that women’s eyes are now the standard of the market. This change reverses the long-standing social norm of men making demands on women and setting aesthetic standards. Women began to judge men through their own eyes. In this context, women were free to look at men on their initiative, and the male body became a visual symbol. This represents the liberation of women’s desires and accomplishes, to some extent, the dissolution of male authority. Women should not be the only gender to be gazed at and consumed.

In life, many women are afraid to look at their own needs because of outside perceptions: should they wear a bra on a hot day, should they wear make-up when they go out? How should I walk, sit or stand up when wearing a dress? How much should I leave my neckline open so that I don’t attract strange looks?

The reason girls have to worry about these issues because ‘looking and being looked at is a power relationship’, and the male gaze is always in the ascendancy of power. It is embedded in advertising, popular culture, the teachings of parents and teachers, the rules of public space, and even our expectations of ourselves, and it affects the way we dress, behave and talk (men, women and children) all the time.

The sociologist Pierre Bourdieu has pointed out that people’s perception of beauty is not entirely subjective or accessible but is wrapped up in the aesthetic consciousness of the times. The perception of ‘good looks’ is therefore socially constructed. Because men have mostly occupied more economic and cultural resources throughout human history, the social construction of beauty has often been influenced by the ‘male gaze.

Question

Can body shame be alleviated and improve women’s self-awareness when female consciousness is in an ambivalent relationship with the state of the package?

Intervention

The theme of my intervention is wrapping, the presentation of self-consciousness by women wrapped in raw fabric. While women’s consciousness is in a paradoxical relationship with their wrapped state, at the same time, their process is spontaneous, playful and the result is unexpected and serendipitous. The incorporation of consciousness into clothing becomes a personal disguise, which in turn distorts and fragments the body, constituting a new physical reinvention that provokes subconscious associations and rebels at the same time. My intervention centers on the reinvention of gender and the body, seeking to disrupt notions of passive femininity. They use the body and unconventional materials to distort and fragment bodily forms, perhaps with unexpected results.

My stakeholders are women aged 18-40 who are unaware of their femininity. The aim of my intervention is to explore the awakening of feminine consciousness by stretching the body to reveal the self as it is, through the dichotomy of wrapping and consciousness.

In my interventions I have sought out two women with body shame issues who are wrapped in knitted materials to interact with objects to produce body reshaping that centres on a fascination with gender and the body in an attempt to disrupt traditional notions of femininity.

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The project was a joint effort between myself and my two stakeholders. All the acts performed during the intervention were spontaneous and completely free, with each person presenting themselves in their most expansive way.
The two sets of pictures are different colors, showing different contrasts of light and dark. At first, it was just a coincidence, but George’s reminder made me suddenly realize that these represent other external worlds, both positive and negative, positive voices and negative ones.
In the first one, white, the whole person has a state of resistance, a rebellion in the contradiction between wrapping and self-consciousness.
The second, dark, shows the whole person in a state of self-awareness and reflection, reinventing himself.

Feedback

This exploration process is enjoyable when the body is in the act of spontaneity when women’s consciousness and the paradoxical relationship of their wrapped state are spontaneous and playful, and the results are unexpected and accidental. Fragments of culture are reconfigured, triggering subconscious associations and rebellion at the same time.

Challenges/limitations

For contemporary women, apart from subjectivity, there is more of a macro-social context to face. From a feminist standpoint, apart from how women know themselves, what kind of political philosophy women need is equally important. Feminism is about opposing the objectification of the human being. To what extent is the management of the body under the female gaze a free and authentic expression of the self?

When it comes to what women should do with their bodies, the male gaze is the first layer of difficulty. In a rapidly iterating aesthetic market, from cosmetics to clothing and even flesh, the gap between the individual and society in defining ‘beauty’ is so vast that even the most radical feminist can hardly persuade women to give up being beautiful without thinking and feeling guilty – in a time of consumerism, what else is there to do if you don’t consume?

Interviews/transcripts

The consumption of virile is naturally a sign of women’s increased right to express themselves, and it is a sign of the development of feminism.But one of the characteristics of ideal feminism would be that women are aware of and able to use their rights with a clear consciousness, recognizing that men and women are different, but that this difference is only a difference and nothing more. Thus male consumption is not a feminist advance but a product of a consumer society.

Reference

Susan R. Bowers. (1990). Medusa and the Female Gaze. NWSA Journal, 2(2), 217-235. Retrieved June 6, 2021, from http://www.jstor.org/stable/4316018

Schuckmann, P. (1998). Masculinity, the Male Spectator and the Homoerotic Gaze. Amerikastudien / American Studies, 43(4), 671-680. Retrieved June 6, 2021, from http://www.jstor.org/stable/41157425

Coorlawala, U. (1996). Darshan and Abhinaya: An Alternative to the Male Gaze. Dance Research Journal, 28(1), pp.19-27. doi:10.2307/1478103

HEDRÉN, K., MISTRY, J., & SCHUHMANN, A. (2015). ‘WOMEN, USE THE GAZE TO CHANGE REALITY’. In MISTRY J. & SCHUHMANN A. (Eds.), Gaze Regimes: Film and feminisms in Africa (pp. 182-187). Johannesburg: Wits University Press. Retrieved June 6, 2021, from http://www.jstor.org/stable/10.18772/22015068561.20

SKOMP, E. (2003). Misogyny, the Male Gaze, and Fantasies of Female Death: “Eto ia, Edichka and Russkaia krasavitsa”. New Zealand Slavonic Journal, 137-142. Retrieved June 6, 2021, from http://www.jstor.org/stable/40922148

Dolan, J. (2012). Ideology in Performance: Looking through the Male Gaze. In The Feminist Spectator as Critic (pp. 41-58). Ann Arbor: University of Michigan Press. Retrieved June 6, 2021, from http://www.jstor.org/stable/10.3998/mpub.5169198.8

JOHNSON, P. (1997). The Gendered Politics of the Gaze: Henry James and George Eliot. Mosaic: An Interdisciplinary Critical Journal, 30(1), 39-54. Retrieved June 6, 2021, from http://www.jstor.org/stable/44029557

In my first act of intervention

I interviewed my stakeholders (in the form of a chat). During their masks, they completed the mask painting by imagining themselves and reflected their different personalities. They expressed this anxiety of growing up and receiving more external messages being body shame while gradually eliminating this anxiety; they are willing to be true to themselves. Still, at the same time, some of them continue to find their original comfortable state, even if it is conservative, but I think it is an excellent way to let themselves do what they want to do.

In the second mask, she draws thorns and tears, she says the thorns are like the wounds she has suffered, and the incisions are like the current state of her life, but then she covers up the bad parts with flowers, in the hope that she will become better. Despite the flaws, she felt a gradual transformation in her heart to see it as something good, and she told me that after drawing the mask, she felt so good about herself.

One person draws the two cartoons, the first one is the real her, and the second one is the imaginary her. She wishes she looked more sunny and lively like the second one because she thinks people prefer bright and cheerful girls. But she also says that when she was drawing the first picture, she felt more relaxed and happy because each one was more relevant to her color scheme, character image, and feeling. In contrast, the second picture required her to go to the internet to find some references to draw.

When women start to recognize and accept themselves as they are, it creates a strong sense of self and feminine power, reduces anxiety about body shame, and leads to more confidence, which is what I wanted to achieve in this intervention.