Water births immensely healthful for mums and babies; here's why
Studies published between 2000 and 2021 were analysed, involving more than 150,000 women
By Kimberly RodriguesJul 06, 2022
For those mums about to deliver your baby, you’ve probably already planned how you want to bring your bundle of joy into the world. But if you’re still open to ideas – you may want to opt for a water birth.
According to new research, the increasingly popular water births have been found to result in fewer complications and fewer pain medications and interventions during and after the birth process in comparison to standard care.
Experts are of the opinion that water births provide ‘clear benefits’ for healthy mums and their newborn babies. It is also reported to provide higher levels of satisfaction for the new mum.
In a review of previous studies published by BMJ Open, it was found that water births ‘significantly reduced’ the use of epidurals and injected opioids too.
What’s more, it’s also known to reduce pain and heavy bleeding after the birthing process.
Water birth is carried out in a birthing pool which provides relaxation and pain relief. The mum can either stay in the pool for the entire birthing process and bring the newborn to the surface to breathe or exit the pool for the birth – for the newborn to emerge into the air to breathe.
For those unfamiliar with the term, experts say, water birth is just what it sounds like. It’s when part of the labour and the delivery of the baby takes place in a warm body of water, known as the birthing pool or tub.
According to information provided on HealthPartners, warm baths help one to relax. So, being immersed in a warm bath during labour provides the same relaxation benefits. This probably helps reduce the mom’s blood pressure, providing an overall calm experience.
Also, because of the water’s buoyancy, moving and repositioning during labour is easier – this, in turn, helps with easing the contractions.
Information on the NHS about using water in labour cites that being in water can help you relax and make the contractions seem less painful.
For the new study, researchers wanted to compare the extent of healthcare interventions that were needed during and after labour between the two different types of water birth and to check if the results differed between water birth and standard care not involving a birthing pool.
Studies published between 2000 and 2021 were analysed, involving more than 150,000 women.
Most of the studies were carried out in obstetric units.
A range of interventions and outcomes were included in the studies such as artificial breaking of waters, induced labour, the use of epidurals, breastfeeding, admission to intensive care etc.
Dr Ethel Burns, of Oxford Brookes University and the study’s lead author is reported to have said, “A waterbirth was as safe as standard care for healthy mums and their newborns.
“Compared with standard care, a water birth significantly reduced the use of epidurals, injected opioids, episiotomy, as well as pain and heavy bleeding after the birth.”
In general, Dr Burn said that water birth benefits the mum and the newborn when used in the obstetric setting, thus, “making water immersion a low-tech intervention for improving quality and satisfaction with care.”
She adds, “It is an effective method to reduce pain in labour, without increasing risk.”
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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