Everyday care for the dancer’s feet

The foot and ankle are a vulnerable area for the dancer, accounting for 65% of all injuries within professional dancers and 53.4% within elite pre-professional dance students. Dancers are constantly on their feet and despite the effortless look, there is no doubt that this art puts incredible strain on the lower limbs. 

A combination of flexibility, stability and dynamic strength are required at the ankle and foot for a healthy dancer’s foot. However, despite the intense training, injuries in this area are highly common.

Foot injuries can be caused by a number of factors including;

•             ill-fitting shoes,

•             an increase of training intensity too quickly,

•             poor dance technique,

•             over training

Chronic injuries at the foot, due to overtraining, are more common than acute injuries.

Below are some tips of how you can take care of your feet each day, with an aim to prevent injury.

Everyday care

Remove the waddle

As a dancer it is very important to look after your feet when outside of the studio. Dancers often adopt the dancers “waddle” out of habit due to their turnout training. However, mechanically, the feet are not designed to be turned outwards, therefore it is important to note when walking and jogging to place your feet in parallel.

Rest and recover

Additionally, allowing your feet to rest and recover is highly important and beneficial, in order to help prevent injuries due to overtraining. Possible ways of doing this is by soaking the feet, simply taking the weight off your feet or having a massage in the arch of the foot and Achilles tendon insertion.

Wear the correct footwear

When buying shoes, ensure you wear properly fitted shoes. Not only dance shoes, but any casual pumps too. After a long day training you do not want to put extra strain on your feet. I would suggest purchasing a well-fitting pair of running trainers for these occasions.

Prepare your feet

In the morning you might feel stiffness in the foot and ankle. Why not prepare the feet first thing? Even before class? This will feel like a breath of fresh air and help enhance movement quality.

Try this plantar fascia roll.

1.            Using a hockey ball, roll deeply into the plantar fascia on the foot for 2-3 minutes. Ensure you cover the whole underside of the foot.

2.            Repeat on the other foot.

You'll feel like you're walking on air!

Strengthening the ankle and foot is highly important in order to prevent fatigue, a leading cause in injury. View my article on improving ankle strength here and warming up the ankle and foot here.

Look after blisters

Blisters are a common complaint for ballet dancers caused by moisture and repeated friction from (most commonly) pointe shoes. Taping susceptible areas of the feet can help prevent blisters yet don’t work 100% of the time.

When blisters come up it is unadvisable to burst blisters. Doing so could lead to infection. It is best to leave the blister to heal in the open air, however dance class schedules and pain can restrict this. Therefore you can drain a blister using a sterilised needle to ‘pop’ the blister. It is important to keep the roof of the blister intact to allow as cover which will help avoid infection. It is then best to cover this area with a clean dressing.  

Avoid bunions

Toe spacers or improvised toe spaces help to improve the alignment of the big toe. I would recommend fixing these in place before class with a bit of tape.

If you suffer from bunions then seek a good pointe shoe fitter who can offer you a shoe with the correct support and angling to remove pressure from the bunion.

At the end of the day have an ice pack to hand to sooth any bunion pain.

Do you have any rituals you go through each day to look after your feet? Let me know below!

 Photo credit: Rennison-Rae Photography

Weight Training | The Dancer

Photo by Rennison-Rae Photography

Will weight training change your aesthetics for dance?

It has long been viewed that weight training for dancer will increase muscle bulk and decrease muscle length, thus ruining the aesthetics required of dancers, particularly in ballet. 

More recently on social media we are seeing more women taking up weight training and portraying a more muscular figure. However is this the way we will all look should we train? Each individual has their own training goals, and so do dancers when lifting. Their conditioning programme will vary compared to competitive women body builders. Plus it takes the female body  a blooming long time (plus sometimes a bit of a cheat) to grow to such a size.

What does science say?

A study by Koutedakis et al. (2005) found no change in artistic or dance performance requirements despite increased muscular strength, nor a change in the levels of flexibility. In fact there is call for strength training to increase performance and reduce the risk of injury. See my other blog 'athletic artists' for more information about strength training for dancers. 

Hope you enjoyed this quick read!

-E

Koutedakis, Y., Stavropoulos-Kalinoglou, A. and Metsios, G., 2005. The significance of muscular strength in dance. Journal of dance medicine & science, 9(1), pp.29-34.

The importance of a strong ankle | American Football

 

Photography: Micheal Oakes

The ankle joint - The area I spend so long taping each week. Why? Because (1.) This is the most common site of injury I see. (2.) People don’t do their rehabilitation following injury (despite my constant reminders). (3.) People don’t protect this joint in the first place.

Within American Football, the ankle is put under enormous strain by large loads placed through it in jumping, acceleration, driving, landing and cutting manoeuvres. Unlike a sport such as sprinting where the athlete runs in one straight line, the majority of AF players are required to change direction at speed. In addition, at grass roots level, we aren’t always so lucky to play on an even grass pitch. Instead, we visit grass pitches with plenty of pot holes, frozen ground or pitches which are water-logged. This presents a more challenging picture for the body, and the foot and ankle are its first contact. Therefore it is important that the ankle is able to adjust to its surroundings. In conditioning terms we call this proprioception. This is essentially training balance on different surfaces so the ankle is strong enough to correct its positioning if forced or placed into a position which could put it at risk of injury (such as turned inwards or outwards). Single leg exercises are therefore incredibly important. We may run on two legs, however we only have one foot in contact with the floor at any one time. Thus it is important to train using single leg exercises to crossover to this and also correct any asymmetries. These can be combined with change of direction drills. Of course it is vitally important that the individual can safely and properly move on both legs prior to single leg work. This reduces the risk of injury when training.

Unlike what you might think, rehabilitation and preventative exercises are actually the same. It is where you start your programme that is different. For the athlete recovering from injury their exercises will be very simple and these will slowly be progressed to something more challenging. However, as previously stated, this doesn’t mean all non-injured athletes can start performing single leg bounds. This is an advanced exercise and must be performed properly or risk injury.

Taping and bracing can help reduce the risk of injury, but the cost for the individual or team can be huge by the end of season. For many, I believe tape often acts as a placebo. Personally I would much rather have the confidence in my ankles by having strengthened them properly than rely on tape. Over the past season I have also used Kinesio Tape, in conjunction with other treatment, to bring down swelling and bruising at the ankle with positive results. I do support the use of athletic taping in the correct useage i.e. if it gives the returning player added confidence, however those players using it in place of rehabilitation I do not.

Of course there are some injuries which cannot be prevented such as contact injuries.

On a final note, I believe that it is the coaches and players responsibility to assume responsibility for preventing injury risk i.e. not forgetting the ankle joint! Players should also follow a comprehensive rehabilitation programme prior to returning to play to ensure they do not put themselves at risk of injury once again.

Interested in learning what ankle strengthening exercises to perform? Keep an eye out for further blog posts!

-E

Reducing Tight Hip Flexors

The hips can often become tight due to a number of causes such as; inactivity and injury. Most people will find that their hip flexors are short and weak.

For those unfortunate to have desk jobs, sitting down for long periods of time passively contracts the hip flexors. As a consequence this negatively affects our posture and athletic performance.

Anterior pelvic tilt is due to tightness in the hip flexors. Tightness within the area pulls the pelvis forward and tips the bottom up, creating an arch of the lumbar spine. Many people as a result suffer from lower back pain.

In order to perform optimally and pain-free it is important that our hip flexors are flexible yet strong in order to perform movements such as the squat and lunge.

One key method to reduce tightness in the hip flexors is to stretch.

There are many stretches you can perform to stretch this area, so plenty to try out to find which works best for you. Here are my 5 favourite to perform -

1.    Pigeon

There are several ways to get into the ‘Pigeon’. You can either take it from a downward-dog, or begin in a low lunge, placing weight through your hands, tuck the ankle in towards the centre of the body. Position the heel so that it is in line with the other hip. Shift your weight central so that it is eventually distributed between both hips. Hands should be placed on either side of your legs.

2.    Low lunge

    

Begin standing. Take a step on one leg in front of the body. As you place the heel down slowly bend the front knee and allow the knee of the back leg to rest on the floor. Ensure the bottom is tucked down and posture is upright.

3.    Spider-Man

From a press up position take one foot up towards the hand and place it down on the outside. The foot should be flat on the floor. Distribute the weight evenly between both hips and sink your weight down into the stretch.

4.    Wide squat

Stand with your feet slightly wider than your hips. Bend your knees and sink your bottom down towards the ground. Heels should be resting flat on the floor. If this is difficult you can use a rolled towel or a book under the heels as support. Bring your palms together and tuck your elbows into the side of your knees.

5.    Happy baby

Lying on your back draw your knees up into your chest. Hold your instep or big toes and allow your knees to fall into the side of your chest. Actively draw your knees towards the ground.

What are your favourite stretches for the hip?

-E

Guest Interview - English National Ballet Dancer Joshua McSherry-Gray

Tell us about yourself

I’m a dancer with English National Ballet (London) about to enter my 8th season with the company. My daily routine starts at 10:15am. We begin every day with a Ballet class, warming up at the ‘Barre’ for around 45 minutes. It's designed to slowly get the body going by warming up the muscles and gaining flexibility. Throughout the ‘barre’, the exercises become increasingly harder and more challenging. Then we start to train in the centre for balance, coordination and orientation. This consists of pirouettes and finishing the class with Grand Allegro (big jumps). 

We then have rehearsals throughout the day for the upcoming production.  On rehearsal days we finish the day at 6:30pm, however show days can be very difficult and long. We often finish at 10:30pm for weeks, if not months at a time during production time.

I am massively passionate about the ‘behind-the-scenes’ and the social media side of ballet. I have a great pride in connecting with people and showing everyone the reality/hard work it takes to be a professional ballet dancer. 

I created BalletFriends.co.uk as a platform for dancers to showcase their own view on ballet. I release monthly interviews with dancers from all around the world. I also created a space for bloggers to increase and further their audience with topics all related to ballet. I have an instant access to 25K+ followers across my @BalletFriends social platforms. I get a real kick from knowing that I started with (0) and now I have built an audience that are loyal and passionate.

I’m also very enthusiastic about travelling the world and seeing different cultures and cities. I consider myself very lucky to have seen many parts of the world on tour with English National Ballet. 

The past two years have been amazing! I’ve been to China, Singapore, Colombia, Oman, Paris, Spain, and some fantastic cities throughout the UK. 

What type of supplementary training do you do? What benefits have you seen from this training?

I do a lot of body weight ratio training in the gym at work, 3-4 times a week. I work a lot with a square standing frame where I can do pull-ups and bench press for chest and torso strength. We have a personal trainer at English National Ballet who keeps an eye on us all the time. Many of us have tailored and specific programs made for us. 

I feel great benefits from building strength in the gym. It really helps with partnering, especially roles which require having to lift a lady above your head with locked out arms. Many roles require having to hold partners for many minutes at a time while supporting their whole body weight. I do a lot of neck strengthening and rotation cuff strengthening. It's common for male dancers to get injured from partnering. The durability and endurance during a Pas de deux ‘partnering’ can be extremely difficult at times. I have also danced roles which have required me to lift other men. Using the gym in a controlled manor and with perfect form can have huge benefits on a classical ballet body. 

At what age or stage in your dance career did you realise supplementary training was necessary?

My initial realisation of how supplementary training is completely necessary to a ballet dancer was about three years ago. As a dancer with English National Ballet we perform at the Royal Albert Hall. It is a vast venue in comparison to many other theatres. Everything is twice as hard for stamina because it is such a big space. 

I have recently introduced HIIT training ‘high intensity interval training’ to my routine. I feel this has really improved my durability and endurance for high impact ballet, especially for shows.

What is the support system like at the English National Ballet for dancer’s health?

The sports science team at English National Ballet is excellent! English National Ballet and GJUUM LTD work very closely and seamlessly to support the dancers with sports science. We have constant measurement of our fitness throughout our season. We also have annual tests, so we can compare results from different years to see how we have progressed in certain areas. 

Do you feel there is a different attitude towards supplementary training between male and female ballet dancers?

There are definitely differences between the male and female training programs. For example, the men will do a lot of weight training to gain maximum strength for partnering and leg training for stabilisation in landing jumps. The ladies often stick to core stability exercises and body weight ratio exercises to keep/gain strength without bulking. Even though our exercises may be different in certain ways the structure for all employees are the same.

How do you juggle all you do and make time for supplementary training?

Sometimes it can be difficult to train as our timetable can be extremely busy and heavy on the body. I often make a great effort to train in the morning before work starts or at the end of the day if I still have the energy.

What supplementary training do you do on tour? 

A member of the GJUUM LTD sports science team is always with us on tour, whether it's national or international touring.

What is your favourite strength or aerobic exercise to perform?

I really enjoy doing pull-ups as I feel it really helps me with my back, arm and grip strength. I also enjoy doing HIIT cardio on the rowing machine.

What is your least favourite strength or aerobic exercise to perform?

I have to say I don't enjoy exercises which involve my lower back. I've had some back injuries and spasms in the past. I now take extra care and I'm very cautious about my form when I strengthen my back with exercises. This used to be a challenge for me however I now feel like my patience has paid off and I have overcome my phobia.

How can we find you on social media?

I’m very active on my social media accounts.
Here you can follow my life and daily routine as a professional ballet dancer -

https://www.instagram.com/balletfriendsofficial/

https://twitter.com/BalletFriends 

https://www.snapchat.com/add/balletfriends 

Behind the scenes with Joshua...

#ENBSheSaid

Joshua McSherry-Gray and Juan Rodriguez.

Ballet barres to Barbells ...

Bruising from partner work.

Back stage at Sadler's Wells with MAC makeup team before #ENBSheSaid

The Dancer’s Essential Warm-up – Part 1 The Foot and Ankle

Photography by C. Rennison-Rae

The Anatomy

The foot consists of 26 bones and is divided into three separate parts- the hind foot, the midfoot and the forefoot.

·         The hind foot consists of the talus, calcaneus (heel bone), navicular, cuboid and 3 cuneiform bones.

·         The midfoot is comprised of 5 metatarsals.

·         The forefoot consists of the toes, each with three parts (the phalanges). Only the big toe (also known as hallux) has two phalange, just like the thumb.

The talus is a very important bone as it transfers the body’s weight to the foot, and is stabilised by multiple ligaments which are often exposed to injury due to insufficient strength at the joint.

The ankle Talocrural joint is classified as a hinge joint. Due to it being this kind of joint, movement is only possible in one plane i.e. plantarflexion (pointing the toes) and dorsiflexion (flexing the foot). The gastrocnemius, soleus and toe flexors work together to produce this movement. Dorsiflexion is carried out by the tibialis anterior, extensor hallucis longus, the peroneus tertius and the long toe extensors.

Inversion (sickle foot) and eversion (winged foot) of the ankle occurs at the Subtalar glide joint. Inversion is produced by the tibialis anterior and tibialis posterior. Eversion is carried out by the peroneal muscles.

Source: Bing Images

The importance of warming-up the foot and ankle

Strong coordinated feet are essential to a dancer’s technique.

The foot is required to be stable, yet at the same time, flexible and elastic. The joints of the foot are shock absorbers, built for dynamics and balance of the foot. Mobility of the foot is genetically determined, but good training from a young age can improve its form and mobility. Strength and stability are also important areas within the foot, which can be trained (an area I shall talk about in a future post).

Due to this, it is vitally important that the dancer thoroughly prepares their feet for class and performances. Fully preparing from the bottom of the kinetic chain up will contribute to preparing the rest of the body.

Follow these steps to correctly warm up your feet

Foot circles

This exercise not only acts as a gentle mobilisation exercise, but is also good for focusing the mind.

1.       Start by lying on your back. Bring the left knee to your chest and hold the shin parallel to the floor. Dorsiflex the ankle.

2.       Circle the foot to the outside, through a pointed foot, to the inside and back to the start in a dorsiflexed position.

3.       Repeat this 6 times and then repeat this movement in the opposite direction.

Note: Focus on working the whole range of movement while imagining yourself stirring a pot of thick porridge.

Good toes, naughty toes

1.       Sitting upright with your legs stretched out in front of you

2.       Wrap a theraband around the balls of the foot and hold either end of the band in both hands.

3.       Starting with the ankle in a neutral position, slowly roll through the foot to pointed ‘good’ toes. This movement should be against the resistance of the band.

4.       Slowly return the ankle to the neutral ‘naughty’ positon, resisting the recoil of the band.

5.       Repeat this exercise 15 times on each foot.

Good Toes

Naughty Toes

The Franklin Method

There are eight steps to follow to feel the full effects.

Preparation – stand comfortably on both feet and feel fully aware of your body

1.       Massage

Using one ball e.g. a tennis ball, gently roll your foot back and forth on the ball, massaging the whole sole of your foot.

How much pressure you apply is dependent on you as an individual.

2.       Forefoot rotation

Put your forefoot on the ball, keeping the heel on the floor. Inwardly rotate and outwardly rotate your foot, touching the little and then big toe to the ground.

Your knee and hip will move with the rotation of the foot. Go to your own comfort.

Repeat 5-6times each side.

3.       Inward/outward foot rolling with toes towards the sky

Continue rolling the foot inwards and outwards but reach the toes towards the sky.

4.       Point flex

Keeping a straight knee, roll the ball under the arch of the foot, point and flex 5-6 times (plantar flexion and dorsiflexion).

5.       Toe scrunch

With your forefoot foot still on the ball, hug the ball with your toes. Repeat this 5-6 times.

6.       Heel rotation

Bring the ball under your heel, toes brace on the floor. Rotate the heel inward and outward. Repeat 5-6 times.

7.       Step up

Place the ball in the centre of the foot and step up on it briefly, taking the other foot off the floor. Repeat 5-6 times. Keep alignment and posture.

8.       Take the ball away and stand on both feet. Notice how one foot feels different from the other.

Massage

Forefoot rotation

Heel rotation

Point flex

Forefoot rotation

Massage

Step Up

Toe Scrunch

Toes towards the sky

Single leg balance

1.       Using a folded towel, folded yoga matt or cushion place this under the standing leg.

2.       Raise the working leg off the floor and keep the standing leg slightly bent.

3.       Close your eyes and stabilise the joint.

4.       Progress this exercise by turning out or standing on demi pointe.

Hope you find these useful!

-E

The secret tool to rehabilitation

 Support

 The often forgotten essential tool of rehabilitation.

Having recently read an online article by ballet dancer Rebecca King, it made me reflect on my own experience of providing support within the rehabilitation of clients.

Too many times within grassroots have I experienced players being put down by their coaches and fellow team mates through missing games due to serious injuries. This mocking is often because they’re not ‘putting their body on the line’ for the team anymore, which is primarily due to the fact that they’ve done this one too many times and their body has finally given up. What angers me the most is that no credit and understanding is given to these players who are working their boots off to get back onto the field and it is then left to me as their rehabilitator to not allow this player to become despondent. Not only is this destructive to the team environment but it is harmful to athletes mental and physical wellbeing. If it was me, I know I certainly wouldn’t want to return to a team with an attitude like this.

As a therapist, our role is not to simply drill out numerous exercises for our athlete, but to also ensure a good mental state and preparedness listening and advising our clients when they have concerns. Thus I try to ensure all my sessions are run with light-heartedness, good-humour and in a safe environment, where they can feel relaxed and open to talk. From doing this, my athletes work hard to please both themselves and me.            

Support from the team and staff are not the only places this care should be coming from, support from both friends and family are key. This allows for good psychological health within and away from sport and can aid to a better recovery.

Let me know your thoughts on this area! Have you experienced a lack of support from your team and how did you overcome it?

- E

Five Summer Fitness Tips for the Dancer

A big part of dancing is long days of training or performing. Feeling strong and fit can really help you to perform your best within class and onstage, preventing fatigue and ultimately preventing the risk of injury. If you put the effort in, you can reap the rewards and see your full potential through maximised performance. Whilst it is great to take time away from dance over the summer in order to rest and recover, it can also be a period of reversing all your hard work over the previous year. Returning to class you may feel that your once strong muscles are now sore and tired. Take a read of my five top tips for unleashing your skills this summer, so you can come back stronger the following season...

Aerobic training

Choose an aerobic exercise you most enjoy. For me this would be swimming or cycling, but others could try running or rowing. These cardiovascular exercise are perfect for increasing your fitness levels so that you are less fatigued by the end of dance class.

Get outside

Just because you spend the rest of your year inside a cold, dark studio doesn’t mean you should train in the same conditions, in fact quite the opposite. Get outside to catch those rays, perfect for boosting your Vitamin D levels which have been proven to improve muscular strength, increase jump height performance and reduce injury levels. So instead of doing a pilates session indoors, take your mat into your back garden, or go for a bike ride with friends. But don’t forget your sunscreen!

Incorporate dance specific exercises

Identify the muscle groups involved within specific movements and train them. For example, a port de bra can be mimicked using therabands to strengthen shoulder girdle, or bosu ball can be used to train balance and strength in the lower legs.  

Work on your weaknesses

Perhaps you picked up an injury this past season and now you feel weaker than previously in that area. Well now is the perfect time to revise that situation and to come back stronger than you were before.

Try something new

Now is the opportunity to try a new activity. Perhaps you’ve always wanted to go surfing, or fancy going for that long walk along the coast. DO IT! Get out and let your mind and body relax so that you can return to dance feeling fresh and enthused.

Enjoy!

 -E

The importance of Vitamin D for the dancer

It’s pretty standard that a sunny day brings out a good mood in all. I just love opening the curtains wide and letting the sun’s rays flood the house and jump at the chance of visiting the beach in some shorts to catch some colour. Well it turns out that the sunshine isn’t just good for our moods, but also building a healthy body…

With limited hours being spent in natural sunlight due to many hours being spent inside from classes or rehearsal, dancers are at a greater risk of Vitamin D deficiency. A 2013 study by Wyon et al. found dancers to have insufficient levels of vitamin D, especially within the winter months.

Vitamin D is a vital nutrient for maintaining strong bones and helping the body to absorb calcium. Calcium is vital for growth, immune function, blood pressure, muscle mass and strength. So it is no coincidence that research has found vitamin D supplementation to be beneficial in increasing vertical jump height and isometric muscle strength, whilst also reducing injury rates within elite ballet dancers.

It is believed that due to the high levels of stress which is placed on dancer’s bones and muscles, a vitamin d deficiency can cause greater harm on their bodies, than others who train at a less intensive level. A stress fracture is a common injury within the dancing population, and although it may be caused by poor programming, technical or biomechanical factors, it could also be linked to a vitamin D deficiency.

Dr Wolman (National Institute of Dance Medicine and Science) recommends that dancers need about 1000 IU of vitamin D3 a day, however for the deficient dancer higher levels may be needed. If you are worried about your Vitamin D levels, contact your Dr who can perform a simple blood test to calculate your levels.

Vitamin D can be found in natural sources of food such as salmon, tuna, eggs, cheese and milk. You might, therefore wish to contact a registered dietician who can advise you further.

My Past Dance Injuries

In a past post I mentioned I had suffered from a dance related injury. This injury was greatly overlooked and could have been prevented had I taken supplementary classes. I suffered from Chondromalacia Patella. This is roughening of the articulate cartilage on the underside of the patella. This cartilage can become soft and wear away, causing anterior knee pain. Luckily I was not at this stage and was able to rehabilitate. Chondromalacia Patella is caused by the incorrect tracking of the patella due to a muscle imbalance within the quadriceps. Through my dance training I had become dominant in my vastus lateralis which pulled my patella laterally out of its groove, causing pain with active movement. Through simple Pilates and strength training exercises, by the guidance of my Sports Therapist I was able to strengthen my Vastus Medialis and glutes to correct the problem.

Source - Google

Here are a few of the exercises I used to perform -

Single Leg Bridge

1.       Lie on your back with your knees bent to 90 degrees with your feet on the floor. Arms palm up at your side.

2.       Draw in your abdominal muscles, maintaining this throughout the exercise.

3.       Squeeze your glutes together and slowly raise your bum off the floor until your torso is in line with your thighs. Lift off one leg so that it is in-line with the other thigh. Ensure the hips stay level.

4.       Hold for 10 seconds and lower.

5.       Repeat 10 times on each leg.

Glute band walk

1.       Place the band above the knees.

2.       Keeping the glutes squeezed and the knees pushed out, walk side to side (crab walks) and forwards and backwards (monster walks).

3.       Ensure walks are slow and controlled.

Swiss ball squats

1.       Stand with your back facing the wall. Place a swiss ball at the lower back between you and the wall. Place feet slightly in front of the body.

2.       Hold a light medicine ball between your knees.

3.       Lower yourself until your legs are at 90degrees.

4.       Hold for 10 seconds and squeeze the ball.

5.       Drive up out of the squat to the starting position.

6.       Repeat 3 sets of 12 reps.

Please remember everyone’s injuries are different, therefore each may require different treatment. What worked for me may not work for you. However, these exercises are good, simple strengthening exercises which can be incorporated into your supplementary training regime to help prevent muscle imbalances.

If you have any questions, don’t hesitate to get in touch!

-E