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Simona Peycheva 2001 Ball Routine

- 2001 Hoop Routine - 2001 Ball Routine -

The Reprimand (Prince of Egypt)

Deruigina Cup: 24.950 - 6th
Mobiltel Int.: 28.100 - 3rd
Europeans: 26.225 - 8th
Goodwill: 26.600 - 3rd
Deventer Cup: 24.475 - 5th
Berlin WC: 27.616 - 2nd
Worlds: 26.625 - 3rd

Comments from World Cup Berlin - interesting combination of turns, very risky throw-catch-version, again good combination of music and movements.
Worlds: Brilliant performance by Simona Peycheva – she turns as if she has ice and not the floor under her feet. And she performs her difficult elements very exactly, so that the effect supported by the music is almost a doubled one.

Besides the three Russians, who has the best ball routine in 2001?  I must say it is Peycheva’s. Within a season, she is able to outwit all other competitors (other than the two fixed Russians) and become the next best rhythmic gymnast. The reason is very simple: she has the best choreography in her routines. They are pleasant and interesting to watch., the choice of music is perfect and Peycheva’s leap, pivots and of course her flexibility are brilliant.

Out of Peycheva’s four 2001 routines, her ball routine is considerably most people’s favourite. Its choreography is amazing, its music is soothing and lively and Peycheva’s employs difficulty connections and combinations as well as special throws that really make this routine spectacular. It is no wonder she scores in her artistry value as well. (Besides her high technical and execution score)

Standing in a ring balance, tucking the ball tightly onto her free leg, Peycheva gives an impressive pose right at the start. She begins by rolling the ball down her hand (next to the free leg), and then opening up her leg into a split on the floor.

As the expressive music from the soundtrack “Prince of Egypt” (P.S. There is a trend of using soundtrack music I suppose) sounded, Peycheva performs a little deep back arch flexibility move (F3401). Releasing the ball as she sits on the floor, she rolls once quickly to allow the ball to drop neatly under her legs. Picking up the ball with her legs, she rolls the ball up her legs and body, and finally down her hands as she stands up with a back flexion. Not easy, I suppose. Furthermore, the way she displays is elegant.

Peycheva looks splendid when she rolls the ball over her trunks and both arms and simultaneously showing Arabian moves (not the Artistic Arabian). Here, she performs a 360 degrees ring balance (F2107/8), giving a large roll of ball once again at the end.

When the top voice of the music enters, Peycheva tosses the ball and catches it in a split ring leap position. Subsequently, she does a 360 degrees side legmount balance. Bouncing the ball instantly after, she retrieves it with a back scale pivot. Here, she performs a beautiful throw, releasing the ball as she jumps in legmount position. Catching the ball, she immerses herself with beautiful pirouettes (a triple combination of attitude spins into ring pivot and then leg up pivot). Normally, Peycheva completes her difficult pirouettes confidently and perfectly. It is always a joy to watch her pivots.

After two turning double stag ring leaps, Peycheva comes to another side of the floor where she unleashes her difficult combination throw. I must say her choreography here is really brilliant because the music here is also a small climax. She does a walkover and releases the ball upon completing. Immediately, she performs an illusion turn to tuck the falling ball in her arms as she finishes the combination with a back walkover variation. I simply love these connections and they are definitely choreographed in a very clever way. After the combination, Peycheva completes a 360 degrees side legmount into a wave action (F4003)

As the lively music comes in, Peycheva shows two half turning double stag ring jumps. She performs so beautifully and easily that the jumps seem so light. It is further aided with the light music. She continues her leaps with a turning split leap (deep arched), then a double stag ring leap and finally a repeating stag ring leap. But at the third time, Peycheva throws the ball backwards and instead of catching directly, she chooses to kick the ball up with her hands before catching. Next, she executes a turning stag ring leap into a flexibility move (720 degrees side legmount balance) into a back scale pivot with the ball tucked on her back.

Peycheva’s next throw is interesting. She tosses the ball when she does a double stag ring leap, rolls once to catch the ball in a back flexion (supported on knee). The music now modulates and has a slightly differently style. Peycheva artfully makes use of this by showing different moves. For example, the turning Cossack leap as well as a commonly seen back catch balance into a back flexion. However, Peycheva adds touches to the combination by rolling the ball down a hand at the same time.

Her finale should be one of her most spectacular parts. After frolicking with the ball with her legs, she performs another difficult triple pivots combination: front Arabesque pivots + back catch pivot + unassisted side leg up pivot. Finally, she ends with a throw, in which she catches the ball in a beautiful flexibility position.

Alas, a bad thing about the ball routine is the way Peycheva holds the ball. It is definitely a bad habit that she has not gotten rid of. She is also quite static at times. Without these flaws, she would have successfully completed a perfect routine.

Nevertheless, it is a pleasant and comfortable routine to watch.


Copyright 2001 Angela & Derri See