A Ballerina's Journey with Strength featuring Diana Sorokova

You're listening to the PT Profit podcast, episode number 103. Today I'm sitting down with ballerina Diana Sorokova and we're talking all about a ballerina's journey with strength. Are you ready? Let's get started.

Hi, I'm Beverly Simpson, former fitness manager turned online personal training business owner. And this podcast is where smart fitness professionals, including trainers and clinicians, discover how to increase client performance and movement, package and position their products and services and get out of their own way so that they can increase their revenue to live a life that they love without sleazy sales. Welcome to the PT Profit Podcast.

What's up coach? Thank you so much for pushing play.

On another episode of the PT Profit Podcast. I'm super excited to dive in to today's episode with Deanna Sorokova and we're going to be talking all about her journey as a ballerina with strength and why it's so important and how she helps dancers now. But before we get started, just a quick reminder, the doors are closing for the PT Profit formula. This will be the last time the program will be offered in 2021. So now is the time to sign up. It is a 12 week step by step process designed to take you by the hand and build a profitable health and wellness business. It is literally a coaching program designed to teach and give you the custom experience as well as the community of like minded professionals going through the same experience as you so that you can build your audiences together faster, dial in a profitable product that your clients actually want and are dying to buy from you and help you put together an ethical, persuasive content experience to carry your people through a content process that will attract, connect and convert them. So grab your spot. This is the last time I'll be offering it in 2021 and it's the perfect time to optimize your business. Now get set up for the fall to test so that you are more than ready when the new year new you resolutions come in to play. So click the link in the show notes and I'll see you inside. So today I'm sitting down with Deanna. So Deanna is originally from Slovakia where she started her ballet studies and career. She started dancing when she was seven years old and by the age of 17 she joined a professional ballet company in Slovakia where she danced in ballets in that they had in repertoire plus some musicals and operas. She left for college to the UK where she studied at Royal Conservatory. Her dance journey expanded to contemporary dance when she joined the Premier Contemporary dance company in Mexico, which took her on performance tours around Europe, Mexico and the usa. She spent time dancing in New York for almost five years as a freelance dancer, experiencing different companies, participating in live events, photo and video projects. And found her passion in fitness, which led her to become a personal trainer, which we go deep inside of this episode. Her experience as a trainer and as a dancer has led her to create a very specific training style, the Ballerina Strong. She's now launched her own Be Strong app, and she helps her clients become stronger, flexible, and more energized and feel elegant. So, without further ado, let's go ahead and roll that interview.

What's up, Deanna? Thank you so much for joining me on the show today. How are you?

Hi, Beverly. I am very good, thank you. How are you?

I'm doing great, thank you. I'm super excited. I'm pumped to be here. So let's just go ahead and dive right in. Can you share with us a little bit about who you are, who you serve and how you got there?

All right, so I am born and raised in Slovakia, but at the moment I live in Miami.

Okay, wow. That's a story on its own, which I'll ask you later, but keep going.

Okay. So, yeah, I started dancing. I do ballet. That's my main thing. And then I do personal training as well. So. But I started dancing back in Slovakia when I was seven years old. And then I. That was the only thing I ever wanted to do, so I kept studying it. By age of 17, I joined professional ballet company in my country. And then just from there, I guess I went to Scotland. I went to the college to Royal Conservatoire for Dance. And then from there I kept going. I went to Mexico where I dance with contemporary dance company. After that I moved to New York and I stayed there for the longest, for almost five years. And after that, I'm here in Miami now. Good.

Wow. So are you still dancing?

Well, I was until the Corona hit, and now I still dance. I take classes, but I don't perform at the moment. Hopefully, I will again soon. We'll see.

So you're hoping to go. So you're hoping to continue your fitness journey or your journey as a trainer as well as perform, Correct?

Yes, correct.

So tell me a little bit about who you serve. So as a former dancer, I'm assuming that you serve dancers, Is that true?

Well, it's going to be half and half.

Okay.

So while I was in New York, that's when I became personal trainer and I started training just about Anybody. But the most rewarding for me, it was to see how people who are not the dancers can actually build the body type of a dancer. Regardless if they can or cannot dance, they could still build that physique, the posture, the core strength, this long, very slim muscle, looking very elegant, very graceful. And that was really amazing to see how even regular training in very specific way can create the same as dancing for your whole life, pretty much. I see, I see. Okay, so how did you.

What brought you to personal training?

Hmm. It's a good question. I think I just wanted to do something outside of dance and also while I was still dancing in Mexico because the company was contemporary dance company, and I was used to doing ballet. So for me, that was a big switch, big change, because you suddenly use different muscle groups. Everything is suddenly grounded. You have to be lower. You're really using totally different muscles than you would do in ballet. And I felt very weak to start with, so I had to get stronger. I had to go to the gym, get on a strength training program, not just Pilates or whatever else, which is really good too. But I had to complement that with something else. And when I saw the changes on me, it was a big shock, like how I could improve doing something like this. And that's how I decided to become a trainer as well.

I love that. So now I'm curious because as a former. When I say former performer, I was, like, studying to be, like, a musical theater. Right. I'm in New York. So, you know, I feel like some of the common fears that a lot of dancers and ballet specifically get into are like, I don't want to be bulky, and I'm scared to strength train. So I'm curious, like, how. How did. Did you have those fears? How did you overcome them, and how do you combat them for your clients?

I did have those fears. And for the longest, I would not. I would not want to do squats because, like, I don't want to have a big, bad. I cannot look like that, you know? But as I learned more, as I studied and kind of experimented on myself in a way, I realized that it's not going to happen. And that's how. I also tell my clients that this is really not possible for women to get bulky just because our body is not built that way. And if somebody really wants to, they really have to adjust their diet, take supplements, and I'm not big fan of those. So for me and my clients, this is almost impossible to happen.

Do you get that fear a lot with your clients?

Yeah, from Beginning. They do, yeah.

Do you work with a lot of other professional ballet dancers as well?

I do.

Okay, so I love to hear, like, what are some of the common. What are some of the common challenges that you're facing when you work with ballet dancers? Different. That's different than, you know, say, the general population.

Well, dancers are very, very specific in everything. So when I explain, I really have to go to a super detail on everything, which is a good thing, because most people don't care about how their feet are positioned or if they're looking straight or to the side. But dancers are super specific, so when I explain, I have to show it and really pick on everything they do. But I wouldn't say that's a challenge. That's actually a fun part. The challenge is, I guess, just to get them more comfortable lifting heavier weights, because they probably have the most fear of getting bigger. And that's not even bigger or more muscular. We don't want to get heavier. And as we know, muscle does weight. So if you put a lot of muscle on, you are going to wait more, even though you look slimmer. So that's one thing to consider, which is actually easy to train. It's just a mental thing to get over it. So that's. That's the biggest issue.

So what are some of the mental components that. What are some of the things you do to help them with their mental, you know, overcome these mental barriers?

I guess just. Just help them to trust me at some point, to get to know me, see how I looked before, where I came from, how I improved, see my other clients, how they improve and just build on that, see on themselves how they're progressing and how we track everything and just. That's all.

Okay. So I'd love for you to share, talk a little bit about, you know, a dancer's experience. Now, oftentimes I feel like a lot of dancers deal with hypermobility and being really flexible. How has that impacted their strength training?

That's a very good one, because that is actually my own issue. Exactly. Let's say in ballet world, we kind of divide dancers. Not really, but kind of divide dancers into allegro or adage dancers. And allegro dancers are the ones that have more fast twitch muscles, or the ones that are faster, stronger, less flexible. They usually turn better and jump higher, but they have problem with lines and flexibility and all of that. That. And then the adage or adagio dancers, they're the exact opposite. And I would be one of those that are hyper flexible, hyper mobile, usually a little bit slower. In moving. But their, their lines are much more prettier, longer, and it's the exact opposite. So as a trainer, I get to work with both of them. When these stronger dancers, I guess it's easier, but it takes longer for them to become more flexible. With the dancers that are more flexible, it takes much less time to become stronger. They will not lose their flexibility. So that is nice thing to train them because they can see their results much faster. But I have to be super, super, super, super careful when we leave because I for myself when I started, I couldn't feel. I literally couldn't feel when my knee was fully extended. And it was, it would just get totally out of place. You know, like doing school, if I had a lot of weight, when I would come up to standing, I would tend to overextend my knees and I would think, okay, they're straight. I wouldn't feel they're overextended. But then whoever my trainer was, he would get scared looking at me telling me, you cannot do that. You just cannot. You're going to hurt yourself. And I couldn't understand that for a long time until I saw, I actually had to see myself. And so that is what I tell my clients when they can't feel it. I have to record them, show them, and then really explain to detail that if you are in this position, it feels like you're okay for you, but you can hurt yourself there. So then it's kind of more of a mind cue. Always think like you're going only three quarter way, not the full thing, I.

Guess I love it. Now, just out of curiosity, now, when you break down those two types of dancers, and I know that it's not specific, but I'm just curious, do all dancers know this and do they tend to know which one they, which category they're in?

Yeah, pretty much.

Okay, great. Now, when you are, you know, auditioning or you are working to try and book a dance company role, are you trying to become a. Well, are you trying to become proficient in both types or do people tend to be like, no, no, I'm the fast dancer versus the long lines. Are they trying to be an expert in both or are they trying to niche down? Now I'm using my language, I know I'm not using. So hopefully.

Okay, so, yes, ideally you want to be as versatile as you can. Obviously, each company is a little different. So when you audition, you try to fill them out before see their performances, maybe take some open classes if they do have them, to see if you would Be a good fit if you like the repertoire and their style. And then you kind of feel if you would be a good fit if you would want to go there and you audition. But regardless of their style, you still want to be able to do both. You want to be fast, you want to jump high, you want to turn as many turns as you can, you want to be as flexible as you can. And yeah, ideally you want to do all of it. But everybody knows their strengths, so they try to push more doors that way.

So the reason why I'm asking that is because, you know, if I, you know, as a dancer and if I was a dancer and I'm looking to, to build strength and I know what my strengths are, am I going to train my strengths or are you going to encourage them to train their weaknesses and specifically for their strength training program, not their skill acquisition, but like for their strength training program?

For strength training, definitely I would focus more on their weaknesses. I would not forget about what they're good in. I would still include them in the training, mainly for their mental health, so they wouldn't feel overwhelmed and they would actually enjoy the training. But I wouldn't focus on that. I would have it as a last exercise in the superset or last part at the end of the workout. But the main focus definitely would be on their weaknesses, whatever that is.

Do you think that, I mean, have you noticed or ever felt like, does that type of training has impacted their skill?

Oh, yeah, definitely for the good. So yes. Yes.

All right, good. So, you know, so what are some of the differences in the way that you approach your training for, for these two types of dancers?

Okay, so the base of training would be more or less the same, but would put focus on whatever their weakness is. But I would cue the same kind of exercise differently. So if somebody is tighter for them, I would definitely go using full range of motion, adding extra things here and there to try to elongate even more. And if somebody is hyper mobile, hyper flexible, I would try to cue them going only 3/4 of the way, or maybe in some points, shorten the distance of the motion, range of motion. Maybe do only half movement here, half movement in this distance, just to really build the strength in the parts that they feel the weakest in. Yes. Okay, so same base but different cues.

Yeah. So now for a trainer who's potentially working with a performer, what are some of the things that you've noticed or that you would recommend a trainer or coach look at when they are coaching a performer or a dance, a dancer okay.

So I would treat them as any other athletes sleep, making sure that they're not going to hurt themselves, they're not going to over exert themselves because this is only to help them be a better performer. This is not the performance itself. So my focus wouldn't be like this is the whole thing they're doing. This would be only complementary thing to their performance. So I would really, I guess just really kind of try to. I know how to explain it.

Yeah.

Okay.

So if you, you know, I really. I'm glad that you're bringing this up with the word athlete because I really don't feel like a lot of dancers consider themselves or recognize that they actually are an athlete. And so athletes really train specifically and I've never trained athletes, so this is. So what I've heard is that they have like an off season or an on season. Right. So how do dancers who are constantly, you know, in shows eight times a week, when's their off season?

That's a good question. Yes. So I guess it really depends on the company you are with because many companies, they do have their on and off seasons, but our seasons tend to be much longer. But it really depends from company to company. Like companies in Europe, your season is pretty much from September all the way till June. So your whole year, besides summer is your season. There can be a little break here and there, but it's just like one or two weeks off. That's it. While, for example, when I was in New York, the season will be much shorter. There'll be only three months, then you're off for a month and then again three months and then you're off. And then obviously when you're a trainer and training dancer for the performance or to improve and whatever they need, you have to consider that. And that would actually be to what I was trying to explain before. You have to consider in what part of the season they are, because if they are in the season, you have to be, your training has to be much less intense than when you're off season.

Yeah. So how do you make it less intense? What are some of the modifications you make for an in season dancer?

So in this case you really focus only on what they need to. You're not going to go 100% in in every exercise. You're not going to lift as heavy, you're not going to do as many repetitions. You really want to make it less just for them to be able to stay active, to stay strong, but not to tire them too much. Because our rehearsals tend to be Every day for almost all day, you know, and then imagine before or after you have to go to the gym or vice versa, go to the rehearsal. You cannot spend an hour in the gym. 100% focus on what you're doing. You can do it off season, and you should. That works well. But if you are really training for eight hours a day and at the end of that you go to the gym, it has to really complement one specific thing they need to work on. Yeah, yeah.

So typically, just in your experience, what are. What are the majority like? What are some of the things that you do you consistently see dancers needing to work on in their. On season?

I guess. Well, it will depend. Either it's keeping the flexibility in or keeping the strength. It's one of the two. Because endurance is usually not a problem. Cardio is not a problem. It's either strength. For me, it would be strength because after all day standing on the leg, on my legs, I would be very tired, but I would feel extremely weak in my hips, even though I'm standing up the whole day. So for me, just go to the gym and do literally only 10 sets of squats would make all the difference. But then there's many dancers who would feel the opposite way, who would feel very tight. So for them, it's better to try to elongate, stretch, roll, massage, all of that.

For you to speak a little bit on your, you know, the recovery. The recovery process that you tend to see a lot of dancers go through.

Okay, Recovery. So, yeah, I think it still depends on the same aspect, but definitely, usually we do get one day off a week. It again, depends on the company and time of the season. So if you are in like. Like in Europe, when I was in a company when we trained every day, Monday to Saturday, Sunday would be considered as an off day. So we wouldn't have a company class. But very often there would be a show, and if that would happen, that there is a show on Sunday, usually in the morning, then your Monday morning would be. Would start later, or we would just cut the class and go straight to either rehearsal or show. So sometimes you get your day off, sometimes you actually don't get a day off. It really depends they try to give you that time to recover. But yeah, usually you just have to do it yourself on your own time. So whenever you have a time, you try to stretch each or try to roll, get a massage, ice if you need to do whatever you need. When I was in New York, for example, I had way more time to recover. My rehearsals were Shorter and less. Less intense. Fewer days in a week as well. So I could focus more on training, strength training, and then on recovery, too. And in those case, I would just do nothing all day if I could. I wouldn't do anything.

Yeah. So I'm curious, you know, what are some of the biggest. What are some of the biggest questions or concerns that performers, dancers, come to you with, that they're dealing with, that lead them to you?

The number one reason why they come to me in the first place is because they want to get stronger. They want to learn how to strength train without getting big, bulky, or heavy, and they want to lose weight. Lose weight?

That want to lose weight.

Yeah. In ballet world, you're always expected to be very slim and strong at the same time. So that's. I think that's the biggest issue because it is very tiring, and you have long days, and you have to, you know, fuel yourself to be able to perform, not to get injured and get weak and, you know, any of that. And so how to find that balance, how to stay super slim and strong and focused, all three together all the time.

Like that. That's like.

All the time.

It's all the time. I mean, that must be a high stress. Like, when do you ever get to de stress? Like, what does de stress look like?

Yes, so that's. That is a tough one.

Components. Do you deal? Okay, so do you deal with the mental aspect and do you deal with, like, the nutrition component?

Yes. So the mental aspect, I think, is the hardest one in dance, definitely, because you are expected to be 100% of yourself all the time. Literally. Literally all the time. And so you get pressure from your teachers, from the choreographers. Everybody always expects you to be there 100%. And so you cannot get tired. You cannot. You cannot just phase out for a moment because you will lose something. You will not notice a move. And many times teachers, they don't explain too much. They just say what we're doing, you know, just. Or sometimes they just show with their hands, literally. And they expect you to already know what is going on and remember it for. For next time as well. Same with choreographers. So, yeah. And nothing is ever good enough. So now that they just expect you to be 100% and do everything they ask and remember it, nothing is ever good enough. So when you do it, they're like, no, because I chose something else. Because I want it to be better. I want it to be this way. I want you to look this way while your finger is pointing this way.

You know, I mean, the mental resilience that it must take must be unreal.

Yes, yes.

Oh, my God.

You have to really, really love it to do it.

Yeah.

But it's beautiful in a way. It's rewarding.

Yeah. I feel like, you know, you see most of the dancer movies where you have most people dealing with body dysmorphia that they're dealing with, like, I need to be thinner, but they are, you know, a rail.

Yes, yes. In Eastern world, it's 100% true. In Western, they're trying to promote healthy look rather than super slim look. But it still really depends.

For sure. Okay, so you mentioned that you do talk about nutrition with your clients.

Right.

How do you build, like, how do you help your clients fuel that strong, athletic, lean look? How do you, like, what are some of the big rock components that you're.

Talking to your dancers?

So most dancers, luckily, they. Their diet is really good. It's very rare that I see dancer that they don't know how to eat, what to eat, or when to eat, which I'm really happy about. But I think the main issue, I think the main problem is that dancers don't want to eat carbs for obvious reasons. But that is a big problem because they don't have enough energy to dance perform. So this is one thing that is hard for me to explain to dancer. You have to have your carbs. You have to weigh way more than you actually do, and you have to add protein. Protein is not really problem for them to accept they have to have more. But I think they just struggle to know where to find it or how much to get. So in these cases, I really have to help them to find good sources that work for them and just kind of force them to get enough grams of protein a day to be able to get that toned, you know, muscular look in a way, and then force them literally to have more carbs. From beginning. They don't want to.

Yeah. So when you say carbs, can you be specific? Like, are you talking like grains or are you talking like veggies? Like, will they not even eat veggies?

They will eat veggies. They will be medium on gray. Grains, fruits, they will have fruit. But there's. They usually, not everybody, usually there will be one banana a day. That's it.

Yeah.

No, that's not enough.

Yeah. So but then I'm also curious because what athletes do, and I know that dancers do this as well, and I feel like this has got to be a mental shift for them, is that we're Used to pressing the boundaries of. Of performance. Meaning that we will go past what we will push ourselves. Like, I just need one, you know, one more fuerte, one more day class. I can do it right. And they will push themselves beyond the limits of. When the body is like, we don't have enough energy.

Stop.

So I'm curious, like, how do you help your dancers? Really tap into listening to their response. Responses of like, no, we need more food. No, we need to rest, or no, like, how do you help them navigate that? When to push and when to rest?

Yes. That is a tough one because. Well, because our teachers, choreographers, trainers, ballet masters, they themselves will push you, and you cannot say no, you know, so. And they are really usually the ones that will say, you have to do more. More fuettes, repeat, repeat hundred more times repeat. Even if you get it right, still repeat, just in case it was an accident. So it is hard for us to be able to not go and not push ourselves too much because they just expect us to do it. So when you're in the class, you literally, you have to do it in a way, because otherwise they will not cast you in the role. They will not like you. They will throw you out of the studio, which has happened to me. So. But outside of that, most of the dancers, they know they have to rest. Some are going to be a little obsessed and try to push even more. And that's usually when injuries happen. So when I see somebody's really into it, I really, really try to talk them into just relaxing or doing something that supplements the movement, but not really doing that exact movement.

I see. Yeah. That must be hard.

Yes.

Do you feel at all or notice like, a shift in the industry at all, or do you think it's still as. It's, you know, hardcore, like, work until your eyeballs bleed. Will, you know, do you feel like moving towards more of, like, holistic health? Or do you feel like it's still, like, always pressing the limits?

It is. It definitely is shifting, yes.

Because I gotta feel like there's gotta be dance masters out there that are rigid but.

Not at costs. Yes, it is shifting a lot. A lot. I think, as I said before, in Eastern world, like in Slovakia or going even to Russia, they're still super strict. But here, when I was in New York or here, they're way more looser on you, I would say they try to understand your human side, not just the machine being ballerina side. So they do. They do kind of try to promote you to go out and have fun and Take it easy at times, but they still do expect you to perform.

Okay. So, you know, you all also talked about that you work with people who might not necessarily be dancers, but they want to work out like a dancer. Right. Okay. And you also said that your dancers are the ones that you don't have to deal with nutrition stuff. So it's your gen pop people that you got to talk to about their nutrition. Is that.

Yep. Yes. Okay, cool.

So I love to hear, like, what are some of the conversations that you're having with your clients around nutrition? The ones that struggle.

Okay. So usually people come to me. They usually come to me saying they read somewhere that keto is good, or paleo or any. Any kind of diet with a name may help them achieve what they need to. And it's quite fun explaining them. This is not exactly how this works, and it takes a moment for them to understand it because I remember the last. There was one client, the last one I have to. I had to really talk about. She came to me saying she's losing a lot of weight because she started doing keto. Keto diets. I'm like, okay, great. Well, as long as it's working for you, go for it. But then in a month later, she's complaining, I'm not losing any weight. I don't feel like I am getting anywhere. I don't feel like I'm improving. So then I started talking to her a little bit more into detail. So tell me what your keto actually looks like. What are the rules? What is it that you're following? And then pretty much, she did not have any restriction in calories whatsoever. She could eat as much as she wanted as long as she didn't have more grams of carbs as whatever was prescribed, which did not make any sense, because if she gets more calories in than when she. That what she burns, she's not going to lose weight. She's not going to see any improvement. So I tried to really explain that to her. We had a little argument because whatever she was using as a reference was saying that it doesn't matter how many calories as long as you don't have those carbs. So at some point, I did persuade her to just give it a try for a month. If it doesn't work, go back to what you did before. And then she realized that I may have been right. She did lose over 13 pounds in a month, which is a lot. I would say it's a little too much for a month. That's good for her. She Also, she's able to keep it down. She keeps improving and she's really happy now. Yeah, I think at the beginning, before the keto, she thought it would, it would work for her. And that's. Many people think it works because if you don't get enough carbs, a lot of water will come out of your body, but your fat percentage and your weight really stays the same. So when they get the water back, they're back where they were. So saying that she was actually in calorie deficit, doesn't matter where the calories really come from, then she can see the difference.

Yeah, I think people forget that, myself included. You can, you know, it's, it's your calories matter. It doesn't necessarily mean you have to count them, but they still matter.

Yes, yes.

And you can overeat. You eat a container of hummus. That's a lot of hummus.

Exactly, exactly. Yeah, I know people don't like to count calories and I don't think they should really count every single calorie they do have, but they should have kind of picture knowing more or less where they stand. Are they in 1200, 15, 2000 kind of calorie range? They don't have to be exact. It can be 13, 14. But they should know more or less where they stand in and that will help them a lot.

Yeah, well, that's the other thing. So many, you know, if you're training, you cannot be eating 1200 calories and dancers be eating 100 calories. And I bet. But I don't know who invented that. That's how much my three, my three year old, my two year old eats 1200 calories.

800.

You know, they're training eight hours a day and working out, eating 1200 calories. Like, I'm sorry, you're not gonna.

Yep, it's not gonna happen. Yeah, it's not gonna happen.

Something's gonna break down. Something's gonna give.

Yes, yes. Hard. It's hard.

Definitely a hard thing to navigate. So what brought you to Miami? How long are you going to be in Miami?

I needed a change. I loved being in New York. But one day I woke up, literally, and I felt, okay, it's time for change. And you just came here? Yeah, pretty much. I just decided to move. I didn't really have a work, I didn't have a place to stay. But it all worked out. It's all good. You've been Miami, say again?

How long have you been in Miami?

Almost two years now.

Do you like it? You're gonna stay.

I do like it. I want to stay for now. I don't know for how long, but for now, yes.

Okay, so tell us a little bit about your app. So what is the app that you have created?

Right, so I call it Be Strong app. It's just shorter for Ballerina Strong. Ballerina Strong is kind of my training technique, the way I train myself and my clients. And so I just put it recently. It's just over a month now that I started the app. And for now I have the app divided into daily workouts, which is pretty much for every day there's a fresh workout for people to do. For now, they are all home based or respectively. They can do it anywhere. They can do it home and gym. They can take it outside if they want to. The idea is that they don't need a lot of equipment. It's mostly mind body training. So every day they get fresh new workout five days a week. And I add mini challenges every second week. So every, when the mini challenge happens, we focus on there's a full workout, but we still focus on something extra that we repeat every day in that week. So that is a lot of fun. Last challenge I did was for scissors, but they're scissors, straddle scissors. So it's almost like you're laying on your back and trying to do a split with your legs. So people really like that. The next part in the, in the app, I have 28 day ballerina series. And this one is more for people who feel like they really need a full plan to follow, like from beginning till the end, they need to know exactly what to do every day. So that is there. And there are three right now. And each one focuses on something else. So one is focusing on, on waist, so it's mainly core work. The second one is for legs and the last one was for posture. So a lot of back, upper body, and again, core work. And then I have also nutrition parts in the app, which is pretty much all sorts of recipes for breakfast, lunch, dinner, snacks for everybody. Regardless if you like keto, if you're a vegan, vegetarian, or you eat anything, there's something for everybody. And then I also added a lot of extra healthy tips how to portion your foods and all of that. I have some calculators there. Just because many people like numbers, they like to track and calculate things. So I do have that over there too. That's cool. Love that.

All right, well, I want to be mindful of your time. So for those of you who want to learn more about you or learn more about your ballerina method and what it is that you do. Where can I send them?

All right, so you can send them to my website, which is pretty much my name, dianasorokova.com or to my app, which you find on my website. It will show there, right there. Or my Instagram where I share every day some exercise tips, exercise videos, or just share my ideas on healthy living, nutrition, something from Ballet world, the mix of all.

And I'll be sure to link all of that up in the show.

Thank you very much.

Yeah, well, thanks for hanging out with us today.

Thank you.

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