Barsoukova’s ball routines have always been a display of beauty, elegance and artistry, one that relieves stress and comfort one’s feelings. People familiar with her ball routines do find many similarities, including the music. The 1999 ball routine is a variation to her 2000 routine, or rather the other way round. While watching her, I could not help but be in awe of her balletic moves.

When the harmonious music “The Swan” floods the hall, Barsoukova kicks off the routine with some leg shufflings that resemble a swan. She launches her first vertical balance with the ball placed above her neck into a toe gracefully. She executes a risky flexibility move right at the start, turning a full vertical balance, resting the ball on her leg after a half-turn. Her beautiful hand movements, again, remind me of a swan flapping its wings. She continues with a large roll of the ball across as she performs a perfect front vertical split balance, followed by an easy throw: a complete arching split leap before a clean catch.

Subsequently, she employs a spectacular combination is the back scale that lands on the mat, displaying her high flexibility. Not to be outdone, she uses one of her trademarks after that. Holding the ball with her legs, she executes a back roll to transform into another flexibility position and finally releases the ball hung on to her right leg. A second interesting element is displayed following that. Barsoukova holds the ball on her leg as she gets up the mat, and allows it to roll down the body in a scale balance position (now termed F3302). Her elegance illustrated here truly impresses me. A high Russian Cossack jump followed suit. She continues to perform an unassisted vertical pivot and lands in a vertical balance position. (sharp and precise. but I prefer her control in 1996)

As the music signals the approaching conclusion, Barsoukova exhibits her difficulty. To start with, she executes a large throw, performing a arching split leap and catches the ball in a double stag leap position. She gives a double unassisted leg up pivot, beautifully controlled. Her succeeding throw is considerably her trademark, throwing the ball and advancing swiftly into a back catch balance, finally catching the ball on her back.

Her final impression given to the routine is commendable. Ending off, she stands in a vertical spagat, into a perfect double attitude spin. Her final position is praiseworthy as well.

It is great that the true emotions (not those kind of cat grins) Barsoukova presented won the audiences’ hearts. It is no wonder a matchless routine in the 1999 season.

As the melodious and soothing music floats in the stadium, I listen, as if the music could have no ending. The audiences listen, motionless and still, till the music bore no more in their hearts…