Lukyanenko’s 1995-1996 ball routine is particularly worth watching. Unlike most ball routines, its music is light but has a deep tone with sonority. It is pretty amazing that such a superb routine is choreographed well suited to the music “”. Known for her Belorussian style (because she is a Belorussian), this lively routine is definitely an example of it.

As the accompaniment rhythm (you can it repeating throughout the routine) echo, Lukyanenko begins her routine by following the background pace exactly. As the main theme first appears, she performs a little roll of the ball. The manner she plays with the ball reminds me of a comedian! Vigilantly, she rises up a leg to perform a perfect vertical toe that changes into a Timochenko. Subsequently, she places the ball in the middle of her legs as she kneels down to execute a half Cossack pivot. Some interesting and unusual turns follow suit.

As the theme of the music repeats itself an octave above, Larissa effects a high turning double stag ring leap, thus showing her amplitude of her leaps. She makes her large throw as the music heightens, performing a split leap and catching the ball in a split leap with a deep arch position. As the music becomes louder, Lukyanenko unleashes some difficult ball passing elements and then passé variation pivots.

Her following throw is risky and requires precision. She releases the ball as she executes a split leap, and performs a cartwheel variation to catch the ball. The music changes to a playful mood as Larissa gets up the floor with an MG kick. Here Lukyanenko performs a striking unassisted leg up pivot as she switches the ball to her right hand. She unleashes a large throw diagonally then, executing a turning split leap and then a downwards toebreaker to catch the ball between her legs. Undeniably difficult.

Towards the conclusion, Lukyanenko displays original and spectacular moves. First, she rolls the ball from her left leg down her body. Getting up, she prepares herself for a back catch balance, placing the ball between her back and her free leg. Swiftly, she rotates her free leg to form a front legmount. As loud music blasts out finally, she falls to the ground and ends in a crouching position.

The dramatic routine adds up the atmosphere. From a seemingly simple music, Lukyanenko is able to convey an interesting story through a splendid masterpiece.