Almudena,
a veteran and definitely one of the very best rhythmic gymnasts, has
always charmed the audiences as well as the judges (who do not seem to
appreciate her however) with her dramatic, expressive and beautifully
choreographed routines. She performs well with her flexibility, her
wonderful ballet techniques, and of course, the last but not least,
with flair (I do not see this in most top gymnasts).
Similarly
as Vitrichenko, Almudena routines are so inspiring and touching. Take
for example, her 2001 ball routine. While most other competitors
squeeze their way through their routines with merely techniques (badly
executed) and hardly displaying artistry, Almudena has a splendid
composition for her ball routines. She has high artistry, making full
use of movements that the judges deem as useless and unimportant ones.
What
is worth mentioning is the music “La Tieta”. Almudena’s
choreographer (or whoever) has brilliantly changed the tenor song into
a violin piece. The music thus becomes even more emotional, expressive
and soothing. Almudena further doubled with her efforts in blending
with the background music. It is therefore very commendable.
Almudena
starting pose is very stylish. (refer to the photo) Sitting on the mat
with her legs straight, Almudena tucked the ball tightly with her
right foot and traps it with her supporting right leg. Her face and
hands expressions already signal impending emotional background music.
At
the start of the music, Almudena begins with a large roll of the ball
by her right leg up her body as she lies down on the floor.
(dexterity) Getting up on her knees, she bounces the ball, allowing it
to roll down her left hand as she performs a back flexion on knee.
Getting up, she performs a 360 degrees scale balance with the ball
supported on the neck. This is definitely quite challenging and maybe
Almudena can improve this element.
At
the start of the sad but meaningful theme, Almudena kicks the ball up
with her neck beautifully. Catching it, she immediately performs a
full turning double stag ring leap. Subsequently, Almudena executes a
front vertical balance with a large roll of the ball over both arms
and trunks and continues with a Ralenkova (a flip into MG), finally
stopping at the Timochenko balance to bounce the ball. This is
especially beautifully done in her later competitions. However, she
has a variation earlier. Instead of stopping at the balance to bounce
the ball, Almudena stops at a vertical balance and then falls to a
Timochenko, which is even more difficult.
Next,
Almudena tosses the ball, does a turning Buckle leap or split leap and
upon catching the ball, performs a turning arching stag ring leap.
This is followed by her favourite side leg up pivot (name that I do
not know) In the Worlds (Madrid), Almudena next performs a arguably
spectacular element. She tucks the ball with her left foot and
releases the ball as she raises the leg to form a ring balance. Next,
she runs to the next side of the mat and opens a side split leap.
Supporting on the knee, Almudena raises her free leg to form a
legmount on knee. When her free leg comes in contact with the ball,
she collapses into a back flexion. It is another brilliant
combination. In earlier competitions though, Almudena simply performs
a turning Cossack jump, then a turning stag leap before the legmount
on knee.
When
the music begins climbing towards climax, Almudena shows an
interesting element. She performs a leg up pivot and bounces the ball
on the floor, catching it after a turn, which is immediately followed
by a stag ring leap with deep arch. Next, she performs a full
pirouette (˝ leg up pivot + ˝ back flexion pivot, maybe she can try
full MG pivot to increase difficulty) and leaps diagonally across the
floor with a turning split leap with deep arch. A half turn of stag
leap into a back catch balance follows suit.
Here
the music reaches its peak. In 2001 Worlds, Almudena shows off her
ability with the Tchachina pivots: a double front Arabesque pivot into
a front attitude spin and finally a slightly different side leg up
pivot (can someone clarify this?). In earlier competitions, she
performs another triple pivots combination. This is quickly followed
by a famous original element. Holding the ball on her neck, she
performs a cartwheel and slides the ball down, trapping it between her
feet.
When
the music modulates here, Almudena displays her most difficult
flexibility element. She does a 360 degrees turning side legmount and
bends her supporting leg (with help of her hand) to turn another 360
degrees legmount on knee. This is particularly difficult and risky. I
am really glad that Almudena tackles it finally in Worlds. As a strong
music phrase enters, Almudena tosses the ball, rolls twice to catch
the ball. She gets up with a back flexion kick, and continually does a
turning stag leap and finally opening up her free leg into a scale
balance.
Coming
to a conclusion, Almudena performs a legmount, rolling the ball over
both arms, and then makes a full turn. Not to outdone, she stops and
performs a back flexion. The ending definitely is the most
spectacular. Almudena unleashes her most original element. She does a
split leap but with her front leg supported by her hand and above
ground. Finally, she rolls the ball down her legs! Trapping the ball
in her thigh, Almudena buries herself on the floor and the
breathtaking routine concludes.
I
strongly feel that Almudena is underscored in this routine. She has
many original elements in her routine (walkover to trap the ball
between her thigh and feet and the last element) Perhaps she deserves
a better placing, though some may argue about her difficulty.
Almudena
best ball performance in 2001 should be at the all-around final of the
World Championships. She is very neat and clean in her elements and
her emotions are genuine.