These are all qualities you alone personally attach to the Alemana, but they are not in fact definitive of it. We all have specific ways we like to see things danced, whether in basic mechanics or artistic or musical interpretation. That's all well and good, but whether I prefer delayed walks or immediate weight transfers, the lady's left hand extended or contracted or even placed on the man's chest, lady spotting the man or looking in the direction she's going, etc, it all still falls under the umbrella of an Alemana. Dance it with any interpretation you like. What defines a movement is not the icing but the cake.

As you so often recommend to other participants of this forum, I suggest you look more closely at the latest revision of the technique book. It sets out very explicit parameters for both the Alemana and Switch Turns, and these are what define the figures. They tell you exactly what makes an Alemana an Alemana, both by inclusion and omission. They very specifically leave out certain information, such as exactly where the feet are placed for the Alemana ("3 forward walks under raised arm" -- leaves room for interpretation). The only mention of an extended walk is an option given as what they call a "development", which is basically a variation, not the fundamental version. Of course, there are many other variations given as well, including ones that begin or end closed or open facing, and even one that is lead with a RH-RH hold. All of these are listed under Alemana.

Bottom line is, the Alemana as defined by the ISTD as follows: An underarm turn to R where the lady takes 3 circling walks, typically (but not always) commenced in fan position. That's it. Anything else you add is your own. And if we all start creating our own definitions for things, well, to quote someone in an earlier post on this thread, "If this is allowed to continue it will become out of control."

Regards,
Jonathan