Chachina’s 1997 clubs routine is interesting to watch. Not only it is packed with breathtaking tosses, brilliant techniques but also originality and promises to be a fast and exciting routine.

Unlike the slow and elegant 1995 ball routine, this clubs routine has a different approach with the good use of the delightful Russian music. The familiar tone helps the routine to reach its climax up with a crescendo to the end. I personally love the pounding bass because it helps to form the rhythm and simultaneously coordinates well with the actions when handled by Ira. Her fluidness with the handling of apparatus is commendable too.

Many elements in this clubs routine are really spectacular, so much so that they are still so entertaining and challenging in the new COP. I must admit that I am truly impressed with Chachina’s performance as a junior. Her scores have proven that this solid routine is one of the very best.

Chachina begins by milling the clubs and then a single lunge turn. Advancing forward, she opens into a legmount while tossing the club under her leg upwards. Upon catching, she makes a tiny action of putting it on the leg. I did not quite like this simple action though because it does not flow well. Nevertheless, she quickly continues with a huge butterfly jump, always so beautiful (esp her long legs). Next, she mills a club during a legmount above her free leg while the other club is tucked tightly under her hip. As she falls into a back flexion, she grabs the club. It seems quite common to me, but she articulates well.

A double stag leap with deep arch and leg up pivots follow suit. Meanwhile, she continues with the handling of the apparatus. Coming to an edge of the floor, Chachina prepares for a big throw as the music modulates, keeping everyone in suspense. Here, she tosses one club while she opens a split ring leap (not too good at that time) and then a split leap with a half turn of trunk as she transfers the held club. The club is thrown so high up (wow) that she has ample time to catch.

As the music repeats itself here, Irina takes a short break with some tiny actions, nothing spectacular though. After a while, the excitement returns when she continues with some flexibility moves and acrobatic combinations, at which she stops at a scale balance. Without further ado, she carries on with a720 degrees arabesque pivots into passé pivot. Of course, she never fails to add more touches by throwing a club up during the passé pivot.

Her next catch is a common one done by Ira. I have seen so many times, but the high amplitude of the turning split leaps impress me. She does an asymmetrical toss of the clubs, performs a turning split leap to catch the first and then a second on a turning arched double stag leap. A consecutive throw (used in 2001) follows suit. She tosses a club, executes a turn into a cartwheel variation to catch the club with a back bend.

Here the music changes into loud drumming sound. Chachina performs a acrobatic ring leap into a walkover. It is rather difficult, requiring great back flexibility and strength. Chachina changes her mood as well so that the routine becomes more exciting. Her elements include a back scale, a sheep jump to fall on the floor with her knees, switch split leap etc. The action more worth looking is her pivot combination of passé pivots into leg up pivots, performed almost similar Lipovskaya.

The last toss is her trademark and marks a very good ending. Chachina throws one club vertically first, swings her arms once before releasing the second club. Instantly, Ira performs an illusion turn to catch the first club (this is where the risk is) and then another illusion to catch the second one just as the music ends with a loud thump.

However, there’s just a tiny weenie thing to comment: perhaps the music is overly grand, therefore is only more suitable in Russia. The music could have been arranged better so that it does not repeat too much.

In Russian Cup, she did not manage high score simply because she missed her last risky toss.