PASO DOBLE FIGURES

Paso Doble—2 beats/measure; 58 - 62 meas/min

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Paso Doble should be a bit theatrical. The man is the Spanish matador with his proud, upright carriage, back arched, shoulders back, head up. Forward steps are heel/flat in a marching tempo or up on the balls of the feet in a more prancing attitude. The woman is usually the matador's cape, so she will dance more lightly and flowing. Part of this theater involves the use of body sway. If you feel the slightest urge to sway, exagerate it. The woman will be more cape-like, and the man will perhaps appear more as though he is avoiding the bull's horns but bravely not moving his feet. There is no latin hip action.

FIGURE AND TIMING (Although the music is usually 2/4 timing with the first beat slightly emphasized, choreography is presented as 4/4 timing: step, step, step, step;)	STEPS (In the abreviated sections, a comma separates two beats, a semi-colon marks the end of a measure, and a slash (/) indicates a split beat, two things occuring in a single beat of music.)	In Freestyle, You Could Follow With This
Appel q,	In loose closed position and standing high on the balls of the feet, lower sharply onto or even stamp the trail foot (a one-step figure that often begins other figures). You may execute a back flick of the trail foot before lowering.	most of these can be followed by any other
Basic qqqq;	appel, fwd, fwd, fwd; (may be done back without appel: bk, bk, bk, bk;)	Do a basic forward and back;; ecart; huit;;
Chasse Left and Right qqqq; qqqq;	In loose closed position, facing wall, appel R, sd, cl, sd; sd right, cl, sd, cl;	In the Collipis' Belle Paso, starting in the middle of a measure, there is a basic fwd & bk, chasse L & R, and a double tap;;;;; sur place; separation;; and ecart;
Sur Place qqqq;	In loose closed position and in place, step on balls of feet: rt, stp, stp, stp;
Banderillas phase V qqqq; qqqq; qqqqq	In a left-hip-to-left-hip sort of semi-closed position with right elbow slightly raised and left arm extended and slightly down looking at partner, step in place R, L, R, L (woman sur place L, R, L, R); appel R (woman L), large side L to hip-to-hip counter-promenade position with L elbow slightly raised and R arm extended and slightly down (woman step R), close R, step L; fwd R outside partner (woman bk L) beginning to blend to semi-closed, sd L (woman sd R) to semi, close R, step L; Maintain eye contact thru first two measures. May end in closed-position.	In the Rumbles' Viva Espana, there is Sixteen to man's left side;;;; Banderillas;; Fallaway Reverse Slip;; Sur Place 4;
Attack qqqq;	In loose closed position facing line of dance, appel on the right foot (woman left), step forward L turning 1/4 LF, side R lowering lead arms and shaping left, close L to R; May also be danced with no turn: appel, fwd, fwd, close; May use other beginning orientations.	In the Schmidts' Amparita Roca, part A begins with a Separation;; Chasse Right; Attack; to a Reverse Fallaway Slip into a Telemark;;
Deplacement qqqq;	Same as Attack but with no appel—fwd R (woman L), fwd L turning 1/4 LF, side R lowering lead arms and shaping left, close L to R; May also be danced with no turn: fwd, fwd, fwd, close;
Shadow Attack phase V qqqq; qqqq;	In shadow position nothing touching both with left foot free, step fwd L turning LF right arm in front of body and left arm behind, recover R back to shadow, back L turning RF left arm in front and right arm behind, recover R; fwd L, XRIF of L, close L rising high on toes (woman rises high on toes of both feet and twists 12 LF to face partner), lower to heels and soft knees R foot free (woman lower to L foot free);
Huit (The Cape) qqqq; qqqq;	Turn to semi-closed position and step thru R (woman L), man closes and steps in place woman side right turning LF, rec L in rev semi, thru R; side L turning RF, rec R in semi, fwd L cl to closed position; ( like a matador (the man) waving his cape (the woman)).
Sixteen phase V qqqq; qqqq; qqqq; qqqq;	In closed position facing wall, appel R (woman L), step side L to semi-closed facing LOD, thru R turning RF, sd and bk L (woman fwd R) to closed position facing RLOD; back R with right shoulder lead to banjo, bk L turning RF, close R (woman fwd L) to closed position facing COH, step L (woman recover R to face DRW); During measures 3 & 4, the man stands proud and tall and leads the woman to sweep back and forth in front of him in a caping action, or he may step slightly on balls of feet R, L, R, L; R, L, R, L; Meanwhile, the woman steps fwd L, fwd R turning 1/4 LF to face DLW, fwd L, fwd R; fwd L turning 1/4 RF to face DRW, fwd R, fwd L turning to face partner, close R;	In the Goss' Trumpet Fiesta, there is a Promenade Close to face wall; Sixteen;;;; Turning Sur Place to face wall; to a Grand Circle;;
Separation qqqq; qqqq;	In loose closed position, appel, forward L (woman back R), close (woman back), step (woman close) (man pushes woman away to left open facing position); man steps in place woman small steps fwd, fwd, fwd, fwd to closed;
Elevations Up and Down qqqq; qqqq;	in loose closed step side right heads to reverse lead arms up, sd, sd, sd; sd heads to line lead arms down, sd, sd, sd; (all eight steps are to reverse)	In the Libertis' Don Valero, part A begins with a separation;; elevations up and down;; to an ecart;
Ecart qqqq;	In loose closed, appel, fwd, sd, XIB; This figure has the feel of a whisk in the smooth rhythms.	spanish lines
Promenade Close qqqq;	In semi-closed position, step thru R (woman L), close L and turn to closed position, step side R, close L;
Promenade Link qqqq;	In closed position, appel R (woman L), step side to semi-closed position, thru R turning LF 1/4, close L in closed position; Steps 3 & 4 have the feel of a pickup, close.
Promenade phase V qqqq; qqqq;	In closed position, appel R (woman L), step side L to semi-closed, thru R beginning to turn RF, side and back L to closed having turned 1/4; back R with right shoulder lead continuing to turn, bk L turning (woman fwd R in contra banjo), sd R to closed position, close L having turned a total of 1/2 RF;
Fallaway Reverse phase V qqqq; qqqq;	In closed position facing line and center, appel R slightly back [slip appel beginning to turn LF] (woman L), fwd L turning, sd R turning to semi-closed position facing RLOD, bk L [fallaway position]; bk R (woman fwd L) turning LF, fwd L turning, sd R, close L to closed position facing LOD; There is a total 7/8 LF turn.
Spanish Line Left and Right qqqq; qqqq;	The Spanish Line is thought of as a feminine figure (though it is certainly danced by both partners), and it usually follows a back step. In semi-closed position step thru with the trail feet, step sd turning RF (woman LF), bk to face reverse, press lead foot high on toe of foot no wt with inside arms across body and outside arms up; You may then repeat—step thru with lead feet, sd turning LF (woman RF), bk to face line, touch trail feet on toes again inside arms across and outside arms up;	thru slow to face, -, close slow, -; basic;
Press Line q or s	The Press Line is similar to the Spanish Line, but it is considered masculine and it is usually danced following a forward step. In left open position, step forward on the ball of the lead foot with pressure, but do not transfer full weight. Turn body about 1/8 RF (woman LF). May be done in open position with trail foot, turning LF. The pressing foot should be farther forward than in a Spanish Line and bearing a little more weight—a "press" rather than a "touch."
Flamenco Taps qq&qq;	In a Spanish Line position or press line, that is in open or left open with inside foot pressed, step forward on the inside foot, tap behind/tap, recover on the outside foot, recover forward to press line again; You end in the same position in which you began.	Do a Spanish Line; flamenco taps; and another Spanish Line;
Grand Circle phase V qqqq; qqqq; qq	One way to think of the Grand Circle is an extended Twist Turn where the man crosses his right in front of his left, and the woman walks around him LF, unwinding him with elevated prancing steps. Begin in semi-closed position facing line. The man steps strongly thru and across his left foot without taking full weight yet (woman thru L), twist LF with right-side stretch in a "caping" action leaving feet in place but gradually shifting weight to left foot as the woman steps fwd R, fwd L high on balls of feet, fwd R; she continues fwd L, R, L, R to semi-closed position facing somewhat reverse and wall; man steps thru R turning LF (woman thru L), close L (woman R) to closed position facing wall, There are variations. The figure can begin with an appel R (woman appel L), sd L, and then the thru step and unwind. Often, the last two steps are omitted for a Grand Circle 8 that takes a neat two measures.	In the Goss' Paso Cadiz, there is a syncopated Coup de Pique;; Grand Circle;; into a Sixteen;;;;
Mini Grand Circle qqqq;	Begin in semi-closed position. The man steps strongly thru and across his left foot without taking full weight yet (woman thru L), twist LF with right-side stretch in a "caping" action leaving feet in place but gradually shifting weight to left foot as the woman steps fwd R, fwd L high on balls of feet, fwd R; This one will probably only turn 1/2.	In the Sechrists' La Rita, there is a promenade link to closed position line; chasse right; promenade link to closed COH; ecart; and then a mini grand circle back to wall; Notice that the ecart ends with the feet crossed so there is no need for a thru step. The woman simply walks 4 to unwind the man.
Sixteen qqqq; qqqq; qqqq; qqqq;	in loose closed appel, sd to semi, thru turning rf, sd and back to closed rev; back to bjo, bk turning rf, cl in closed, and stp in place nine counts leading woman to sweep like a sur place rf, lf,rf, lf, and close right to closed position center;;;	repeat to face wall
Coup de Pique phase V 1234; 12&34;	In closed position, trail feet free, turn to semi-closed position and point R thru sharply with a stabbing sort of action (woman point L thru), turn back to closed position rise and close R to L (woman close L to R), XLIB of R turning to semi and lowering, close R to L in closed position again rising; XLIB of R turning to semi and lowering, step side R in closed position/close L, sd R, cl L; A coup de pique is sort of a "stab of irritation." I think, with the trail foot, we are jabbing at the bull to make him more ferocious. Grrr. There are also 1 & 1/2 measure coup de piques that are not syncopated and that leave you with the other foot free. I must admit that I have never seen these in a round dance. R_to_L In closed position appel R (woman L), sd L, pt R thru in semi, cl R to L in CP; bk L to semi, cl R to L in CP, L_to_R In CP step sd L (woman sd R), pt R thru in semi, cl R to L in CP, bk L in semi; cl R to L in CP, step L, (also called a Left Foot Coup de Pique)
Double Coup de Pique phase VI? 1234&; 1234&; 12	In closed position, trail feet free, turn to semi-closed position and point R thru sharply with a stabbing sort of action (woman point L thru), turn back to closed position rise and close R to L (woman close L to R), XLIB of R turning to semi and lowering, close R to L in closed position again rising/close L; point R thru sharply with a stabbing sort of action (woman point L thru), turn back to closed position rise and close R to L (woman close L to R), XLIB of R turning to semi and lowering, sd R to closed position again rising/close L; sd R, cl L,
The Twists phase VI? 1234; 1&234; &123&4;	This figure begins with one measure of even-count preparation and then contains three syncopated "twists" in measures two and three. Begin in closed position facing wall with trail feet free. Appel R (woman appel L) and turn to semi-closed position, fwd L, maneuver R, and step back and side L to closed position facing reverse and wall; Although the actual count is given to the left, it will probably help to count at this point: 1&23 1&23 1&2. These are the "twists." Cross your R in back of L/unwind RF and step L (woman fwd L/fwd R outside partner turning RF) to banjo position facing line and center, fwd R pivoting RF (woman bk L), sd L (woman close R in a heel turn) to closed position reverse and wall again, At this point, you have only used three of the four beats of the second measure, but it feels as though you have done a whole "thing." You have done one twist turn. Now, repeat that twist: Cross your R in back of L/unwind RF and step L (woman fwd L/fwd R outside partner turning RF) to banjo position facing line and center, fwd R pivoting RF (woman bk L), sd L (woman close R in a heel turn) to closed position reverse and wall again, Finally, Cross your R in back of L/unwind RF and step L (woman fwd L/fwd R outside partner turning RF) to banjo position facing line and center, and close R to L blending to closed position line and center;	In the Cantrells' Silverio, they end part A with elevations down; elevations up and down; up and down; and then begin part B with the twists;;; curve left two,, point L/cl L, point R; chasse R 6;,,

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A while ago, there was a long, threaded discussion on the Dancescape site on how the different dance rhythms should feel. They asked, what sort of "look" should you be trying to convey? Here are a few of those comments.

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Paso Doble - Yes, the bullfighter and cape!

There might be a little of that sexy who's-the-boss-here type tension as there is in tango and as there is between a matador and bull, but the moves and the way the woman is lead are much more as a matador would guide his cape, not as he would challenge a bull.

Paso Doble is based on the bullfight, and many of the figures clearly show that: Chasse Cape, Banderoles (the darts used to weaken the bull), La Passe, for example. In these figures the lady can to some extent represent either the cape or the bull. This gives added flavor to her dancing. But she is not merely cape or bull; she is also a woman dancing with a man, and both partners must keep that in mind. (It is made easier with figures such as Spanish Line and Flamenco Taps, where the partners may dance the identical steps.)

Lorraine (former world champion with Walter Laird) puts it perfectly for me when she says that Paso Doble is about Challenge. The Man challenges the woman; she returns the challenge, and they both challenge the audience, with resolute, haughty pride: 'I challenge you to doubt me.

This is purely personal... but in paso, I think of the lady not as bull or cape, but Death - the force ritually summoned, challenged and celebrated. I think of "her" as by turns beguiling and fearsome, inviting, challenging and inflaming with the conflicting desires to kill or to die.

I think the bullfighting flavor (at least for the man) entails really thinking you're the best, you're the star, the whole arena is cheering for you. Push your chest out and look really proud, probably arrogant, maybe cocky.

I think perhaps the man (matador) does some movements towards the lady which at times suggest he's fighting a bull, and at the same time the lady does movements which suggest she is the matador's opposition, but this does not necessarily mean she is a bull. Perhaps two opposing matadors. The lady at times portrays a flamenco dancer also--perhaps this is where we are confused; the flamenco lady is a haughty, flirtatious, sexy woman, whom the matador is interested in, naturally, so he shows off to her, waves his cape and plays his part of matador, challenging her like he would a bull. Also, at times, the lady may be the man's cape, completing his dramatic shapes to make their lines look large and dramatic. And of course, the lady can be another matador, the two dancing side by side, challenging lets say the audience together in synchronicity. I think dancing one perspective of the paso all the way through the dance is wrong, as this does not give the full portrayal of the dance of Spain. By the way, the fingers outstretched pointing forwards is an image used often in the ballet versions of the paso doble. What they represent are not the bull’s horns, but the spears with which the matador finally brings the bull to the floor - very dramatic. I think overall my point is that one cannot dance just one version of each dance, use a whole lot of different ideas and express them all.

"Nobody cares if you can't dance well. Just get up and dance."