Appel in Paso Doble | Vulic - Bussoletti | The WDSF Academy

[@charlessmith263]

I studied the paso doble for at least 5 years--especially the new trends regarding technique on how to do the dance....and I learned new importance about the appel now, especially from a WDSF video tutorial on paso doble from dancesporter Sandro Cavalini. Here is what he said: The old-school way of doing the "appel" was after you do, say, the elevations in the "sur place" or "turning sur place", you drop the feet flat to the ground with the free foot very strongly stamping to full weight, with a lot of noise on the " appeled" foot before you go into the next movement of, say, the "deplacement", or "ecart" or "basic movement" or "16" or "La Passe" or any other figure you want to do after the appel. Now, the new-school way of doing the appel strongly discourages the loud "stamp" of the appel without the twist, because it could be distracting to the other couples in the paso doble, especially if you do this in dancesport International Latin in the paso. It might even distract the judges so badly that you can be marked down or worse. So if competition rules forbid you to do the "stamp noise" in the Appel without the twist, the best way to do the Appel is to stamp only on the toe and ball ONLY--and not on the heel---to get the full weight, because if you stamp on the heel, there will be that loud "tap" that you don't want. Delay the full weight to the heel about 1/2 after the appel so you do not hear the "stamp" and then go to your following figure or movement after that. I call this the "fake stamp" technique - you are making the "theatrics" of stamping still, yet without the noise, because without theatrics--which are so-needed in the paso doble, your whole dance character in the paso could still suffer negatively. Hope that helps....

[@elenabg2742]

nice video 👍

[@tmzkdl111]

파스도브레

[@POLMAZURKA]

too much pre-talk.....