One thing the power dancers can do is move arbitrarily slowly at almost any point in the dance, or treat the vertical and horizontal components of movement seperately, because they are more likely to have their weight stably over or between their feet rather than in flight. This can create a lot of possibilities that aren't there in the more interdependent relationship of movement to position around which the finesse type dancing is designed - on the other hand, it also looks heavier and purposeful, because that's essentially what it is.
If I was going to propose a best of both worlds, I would not simply mix and match partial techniques to create a synthetic whole, as I think that's likely to miss the true advantages of each. Instead, I think I would pick different methods for different applications. A normal natural turn would be along the mathematically optimal swing path of finesse dancing, with it's overhanging (temporarily unsupported) phases of body position. On the other hand, if I wanted to express something with a dramatically slow rise, I might use the power dancer's method of taking step 2 still fairly down with my weight between my feet, then transfering onto the foot slowly and rising at whatever pace felt artistically interesting. One technique for movement, another for comparatively static interludes.
One more observation: this is probably only inconsistently true, but I tend to see finesse dancers having their practice wear traditionally tailored so that the trouser leg breaks slightly over the instep of the foot. In contrast, power dancers get their trousers tailored more in the latin style, so that a wider cuff almost entirely covers the foot when they are standing flat. Or maybe the difference is not in the clothes but in the actual stance - the power dancers standing around grounded, the finesse dancers standing up normally and lowering only when moving?
