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Dance Assessment Resource Guide

Canada · English · 160 pages

Preserved research snapshot; live currency not reverified. Original-language text is shown as extracted. An original-page image is provided for diagram-only pages and the British skills guides. Extracted table text can lose column alignment; check the original before interpreting a table.

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Page 119

Dance Assessment Resource Guide original page 119
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Dance Assessment Resource Guide February 2026 Copyright © 2026 Skate Canada 119 Diamond B – Tango Romantica Music Tempo Pattern Inventor Tango 4/4 • 28 measures of 4 beats per minute • 112 beats per minute Optional Ljudmila Pakhomova, Aleksandr Gorshkov and Elena Tschaikovskaja First Performed Moscow, Russia, 1974 Description This a romantic dance which is skated in a soft, lyrical and sinuous manner with both a soft and strong character where appropriate; however, deep edges are necessary to convey its mood. Steps 1 to 11 are skated in closed hold. Skater A (the follow) places their right hand on skater B’s (the lead’s) left shoulder with their left arms extended. The introductory steps should finish with an open stroke to facilitate skating the first step of the dance that begins on the fourth beat of the measure. Skater B (the lead) starts on a left forward outside edge with their right foot on the ice to the side; skater A (the follow) starts on a right backward outside edge with their left foot on the ice to the side (both partners are on two feet during one beat). Both partners execute double three-turns with a side lift of the free leg for two beats (the “Helicopter”). Step 2 is crossed widely with both feet on the ice and the right knee bent. At the end of this step, skater B (the lead) skates a left forward inside edge and brings their feet together; skater A (the follow) simply straightens their right knee on the first beat of the measure and brings their feet together. On Step 5, skater B (the lead) executes a swing “twizzle-like” motion (“Tw 1” — their body turns one full, continuous rotation, but the skating foot does not technically execute a full turn), while their partner does a swing three completed with an open inside S step. During the swing, skater B (the lead) places their right hand on skater A’s (the follow’s) left hip on the first beat of the measure. They cover skater B’s (the lead’s) hand with their left and they join their free hands overhead. They skate in this hold for one beat. Skater B’s (the lead’s) “twizzle-like” motion and skater A’s (the follow’s) S step are performed simultaneously on the “and” between counts two and three of the measure. On Step 7 skater B (the lead) skates a chassé while skater A (the follow) skates an open S step, both on the “and “ between counts four and one of the measure, followed by the one-beat LBI exit from skater B’s (the lead’s) C step and skater A’s (follow’s) LFO. During Step 8, skater A (the follow) places their right hand on skater B’s (the lead’s) right shoulder and places their left hand behind their back to clasp the skater B’s (the lead’s) right hand. Step 9 begins as a cross roll and finishes with a change of edge for both. At the end of this step, skater A (the follow) performs a counterclockwise back inside twizzle of one rotation without releasing their left hand on “and” between counts two and three. On Step 10 skater B’s (the lead’s) left hand is extended while skater A’s (the follow’s) right hand rests on skater B’s (the lead’s) left shoulder with their left hand and skater B’s (the lead’s) right hand joined on their left hip. The free legs cross on the first beat of the measure, and then on the second beat they close their free legs and take an outside hold. A progressive sequence leads to Step 14 when skater B (the lead) skates a closed C step and skater A (the follow) skates a RFI three-turn in open hold. The series of Steps 15 to 26 are skated very softly with bent knees and deep edges. Step 15 is skated in Reversed Kilian hold in syncopation with the rhythm of the music with the XF-LBI being held for two beats followed by a very short RBO on the “and” between beats four and one. Steps 16 to 19 are a series of cross steps skated in Kilian hold. Steps 20 to 22 are skated in Reversed Kilian hold and culminate in their matching crossed rocker turns. Steps 19 and 22 may be slightly wide stepped. Steps 23 to 25 are skated in Kilian hold. On Step 24 the partners execute a crossed inside three-turn together, then on Step 25 skater B