Why Dianne Buswell has already won Strictly Come Dancing ...Middle East

Have I had a personality transplant? Because until this year’s Strictly Come Dancing I’d have said there was no universe in which I might cry at a Men at Work song, yet here I am, rewatching a salsa to “Down Under”, heart bursting, cynicism draining out of my body, silenced in awe. An astonishing reaction to a spectacle involving a life-sized plastic kangaroo.

That is the magic of Chris McCausland and Dianne Buswell, who have stunned me and everyone else by demonstrating that a blind man can not only learn to dance, but dance beautifully – and in the process have rescued my faith in Strictly.

Their pairing has been a masterstroke: Chris is a gift – cheeky, intelligent, decent and proof that what makes Strictly special isn’t seeing celebrities dance – it’s seeing them take something seriously, even when it leaves them vulnerable. In a programme that dwells so much on hyperbolic stories of “inspiration”, here is someone who, without fuss, ego, exaggeration or sentimentality, brings me to tears every week.

He can’t watch his dances back, can’t see what other couples are doing, yet his improvement each week is staggering. I was profoundly moved last week when Dianne pointed out that when he started Strictly he would hunch over, feeling safer with his centre of gravity closer to the ground; now he stands up tall.

Dianne, for her part, has taken on what many assumed would be an impossible job – in last week’s semi-final, she admitted she had had texts from other dancers saying she would be out of the competition within weeks – and committed to it with such rigour that I forget he can’t see.

Her choreography showcases his personality, lets him perform comedy without using words, and it’s exciting! Their American Smooth to “You’re the Top” from Anything Goes was brilliant, their paso doble astounding – how do they manage such intensity without eye contact? There is no lift she won’t trust him with, no corner of the dancefloor she won’t force him to command.

“Ooh,” I’ll say – with what authority I don’t know, given I didn’t get past grade three tap – “this Charleston’s going to be difficult, because it’s a lot of time out of hold and she can’t lead him.” As it turns out, he is now such a good dancer he no longer needs her to.

Whatever happens in the final, Dianne has already won. She has been a star – thrilling to watch, generous in her routines (you never feel she is trying to show off her own talent), and exceptional as a teacher, partner, friend and champion.Chris may not have started this expecting to come close to the Glitterball Trophy, but what is really powerful about these two is that Dianne has not allowed this to be a parable about overcoming personal challenges. Her attitude is that everyone deserves a chance to win – without short cuts or concessions.

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Twenty years in, we know that the Strictly pros are just as important as its celebrities. They are the engine, the constant, the true cast. They set the tone for the programme, their personalities are the ones we come back for.

In the early days, it was less personal – they were the muscles and women in pretty dresses. Now we know their styles, strengths and stories.

Look at the joy Oti Mabuse brought to Strictly – and how bereft we were when she left. Look at the energy Johannes Radebe brought when he joined – and how he helped Annabel Croft process her grief for her husband. How sincerely we care about Amy Dowden and her health. How happy we were that Aljaz Skorjanec was returning. How horrified we were to hear of the alleged backstage behaviour of Giovanni Pernice and Graziano di Prima. How we root for Katya Jones.

Dianne, in her eighth year, has reminded us that the pros are better than the scandals. She has shown us warmth, imagination, humility, patience, humour, real partnership and sheer pride in him and in herself that is a privilege to watch.

I wish Chris could see himself dance; I wish even more he could see the look on Dianne’s face every time the music stops.

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