always has brilliant styles for her
routines. They are interesting and
unpredictable (what makes it special) and
can be beautiful, unique and even unusual.
Her styles are so brilliant and even
though her techniques are considerably
poor, she emerges as a worthy world
routines in Timochenko’s times are very
much different as now. While nowadays,
techniques, flexibility are much better
and more challenging, the recent routines
lack the spirit of RSG that Timochenko’s
routines have. It is therefore advisable
to download some of the routines and enjoy
chose Timochenko 1988’ hoop routine
because it is cleverly choreographed. The
background music is a piano piece full of
contrasts in tempo, character, dynamics,
tone etc. Therefore, by following the
music closely, Timochenko creates a
wonderful effect. It is no wonder
Timochenko scores high in this routine.
Alas, I wish that Timochenko could have
added even more difficult and uncommon
throw besides the usual ones at that time.
Perhaps, her preparation for jumps, toe
balance etc has to be improved as she is
bending at a wrong way. Her back flexion
needs much improvement because she tends
to wobble her leg and loses the balance.
the hoop between her hands and shoulder,
Timochenko starts with a dramatic pose.
When the unusual yet stirring music
begins, Timochenko frolics with the hoop,
leaps diagonally through the hoop to reach
another edge of the carpet. There, she
performs moves quickly to suit the music,
including a not-too-good back flexion
while rotating the hoop. Almost instantly,
Timochenko continues with a good retro
roll, catching it at the same time as the
music phrase ends abruptly.
comes the exciting part. The music reaches
its first climax and so does Timochenko.
She releases many consecutive throws.
First, she tosses the hoop and effects a
side split leap while keeping the hoop in
constant motion. After a toe point and a
simple release, she releases the hoop for
a consecutive throw, but this time
executes an illusion turn to catch. Not to
be outdone, when a loud phrases enters,
Timochenko throws the hoop backwards
again, jumping through the hoop with an
arched split leap. A few basic leaps like
double stag leap (arched) follow suit. She
ends the climax with another amazing throw
of good height, a split leap into a roll
before catching the apparatus confidently.
the next section, the music is slow,
quiet, peaceful but expressive. Timochenko
displays artistry and her deep emotions,
well blended to the composition of the
music and capturing the audiences well. Of
course, as required for the difficulty
value, Timochenko performs a good double
attitude spin, stopping at the attitude
balance without errors (as seen most
time). Soon after, she performs another
legmount into her trademark “Timochenko”.
These elements, I suppose, should be
difficult in the 88 COP. However, she does
have common mistakes. Besides her mounting
errors and ballet mistakes, Timochenko
often loses balance on her badly executed
back flexion. Nonetheless, Drama and
emotions all combined here form a good
contrast to the previous throws.
ending must be the most unpredictable and
spectacular moment. The music suddenly
returns to its original life and
Timochenko concludes with her final throw.
She toss the hoop from the back
horizontally, executes a split leap into a
roll to grab the hoop. She certainly ends
feel that the best thing of this routine
is the piece of music. The piano
glissandos and running notes really create
a dramatic effect.