wedding dance trend 2018

Nothing makes a wedding more epic than the bridal party surprising guests with a choreographed dance!

It’s 2018. In this neoteric age of Instagram and Facebook, couples have vision boards, and “MUST-haves” before even stepping foot into their first potential vendor’s door. Both of them want their wedding to be perfect, magical, but most importantly, one of a kind.

Couples are coming up with more and more ways to make their wedding stand out, reevaluating the expectation to include what is considered the “norm” and giving more creative input than ever before in every area, including music and entertainment.

I do believe every wedding is distinctive. I strive to make celebration dreams come true, and inspire your big day.

In the past, a first dance was usually a meaningful ballad that the bride and groom would dance to slowly while gazing lovingly into each other’s eyes. In 2018, first dances are more innovative than ever – all out performances involving the bridal party, and fully immersive, guest-involved pieces are frequent and often. Don’t believe me?



Embrace your partner as if he is a bandoneon

by Irene Papagiannopoulou

I remember my first memory of the bandoneon, which resembled the familiar accordion, but it had something deeper, a difference that is hard to describe.

This nostalgic sound has brought me an alloy of melodies and stories of people. I imagine it as a means of expression of the collective memory that makes me feel the safety of my childhood moments of joy. It’s more than like home.

This ancestral means of transport, it breathes and exhales. It has a personality and it is very complex as it transfers experiences from the past.

That is why I think the keys have no reasonable relationship with each other, compared to other musical instruments. When the bandonist presses a key, the same key sounds differently when he opens the bandoneon.

The tango embrace relates to the movement a bandeonist uses: It is helpful to pretend that I am holding a bandoneon in my arms each time I want to open or close my frame.

That sound! Like a wild beast screaming! It is not easy to play the bandoneon just like that in the way some people play the guitar or the piano. Intermediate instrumentalists do not exist.

The bandoneon is singing our affliction and happiness. It remembers, forgets, hates and loves exactly like us. It is not known all over the world.  Also most of people ignore the sunrise because they are sleeping as Lennon used to say.

However that obscurity makes it as rare as his sound. The joy and the sadness in its echo.

interviewing Lucas Fernandes De Goes Vieira

I first show a video of him on YouTube back in 2010. I was inspired by his amazing adornments and his pure sense of musicality.

I remember myself posting on facebook ‘’who is going to invite him in Greece?’’ 5 Years later Carlos Dall’Asta and Maria Karageorgou hosted Lucas Fernandes De Goes Vieira in Athens.  It was a fortuitous chance for me to attend his workshops and demonstration.

Today Lucas is one of the best teachers and tango showmen in the world and I had the honour to interviewed him. Enjoy!


Where were you born and grew up? How was your childhood?

I was born in Votorantim SP and grew up in Sorocaba SP. My childhood was amazing, full of creativity and childish play. I was always a very polite person but at the same time, I was most of time alone with my crazy ideas of playing. Sometimes the other children didn’t understand my way to feel and enjoy myself in my all internal world. During my childhood I constantly used to like playing with a spoon, running and turning around the table and jumping in the couch. Because of this peculiar way to play I always was considered a weird kid.


How have you decided to start dancing Tango particularly? Were your people supportive with your decision?

The tango appears in my life at the same time as the ballroom dance styles from Brazil (Samba, Bolero, Forró…) My decision was born into my body, coming from the movie “Shall We Dance” with Richard Gere and Jennifer Lopez. Since I watched that particular Tango scene I decided to study Tango with a teacher. After years I discovered how different and soft the Tango Argentino is, with the power of the embrace and the energy of the music. In that moment in my life my family agreed and support my decision (as always). Additionally, my Mom was my first partner in my journey.

You teach and you make performance on your own. Was that a choice or it just happened?

It just happened because I have always been learning Tango by watching videos and I had not somebody to lead me. Since I was a child (ok, almost a child 16 years old) the female dance movements amazed me. So, it just happened, when I decide to dance with the walls and every fix object like columns.


Which composers are your favourites to dance?

Juan D’arienzo with Mauré and Pugliese with Maciel.

Which teachers are an idol for you and who has inspired you?

Gerandine Rojas, Javier Rodriguez, Milena Plebs and Graciela Gonzales.


When you have felt the most intense emotions?

When I visited the Buenos Aires for first time and danced at the Queer Milonga in the Peru Street, in Santelmo. It was the first time that I danced as a free gay guy with other men. Also when I heard and danced my first D’arienzo song “La Bruja” on the wall of my father’s office, alone.


What qualities should a dancer has to gain your interest?

The sense of musicality and the feeling. Chase music with your feet and transfer it to the body by the embrace.


Talent, technique, expressiveness. What is the most important to you?

One is nothing without the other, so I do not think just any attempt to judge a preference.

How long do you think it should devote a dancer and what would you advise him in order to help him make his training as efficient as possible?

This is a very difficult question. Like many things in life, just like Tango, you should let your pleasure blend with a routine of life and work that will generate an equalization of your priorities. Only then it will be possible to establish a safe bridge before what each one wanting to feel the Tango inside itself.

What are your future plans?

I want to keep getting to know people in different places and cultures. To have a certain stability to be able to construct a group of studies that permeates the Contemporary and the Butoh dance around the world.


What dance means for you?

It is my way to see the life.


what’s on?

I am honoured to invite you to our second educational cinematic screening about Tango.

Film: Legends of Tango Dance is a documentary by Daniel Tonelli and Marcelo Turrisi, produced by The Argentine Tango Society with the coordination of Silvina Damiani.
This wonderful documentary brings us the word and the dance of great milongueros that have left traces in the history of the salons of Buenos Aires.
Today, these popular dance artists receive the recognition and admiration of the whole world.
They are, Mayoral and Elsa Maria, the Chinese Perico, Nito and Elba, Facundo Posadas, Héctor Chidíchimo, Coca and Osvaldo, Raúl Bravo, the Flaco Dany, Carlos and Rosa Pérez, Martha and Manolo, Gloria and Eduardo, Carlos and Maria Rivarola , Tete Rusconi and Nene Masci.
Premiere: October 2014, in the Marabú of Buenos Aires

Entrance: £4

System Gallery
(2nd floor of Bar Loco)
22 Leazes Park Rd,
Newcastle upon Tyne.NE1 4PG

Friday the 22nd of September at 8.30pm



I am honoured to invite you to our first educational cinematic screening about Tango.
The title of our film is La Confiteria Ideal: The Tango Salon. This film examines La Confiteria Ideal, a Buenos Aires dance hall where fervent devotees of tango flock to escape everyday life.  Including wonderful interviews with famous milongueros: Gerardo Portalea, Javier Rodriguez &Geraldine Rojas, Mariano Chicho Frumboli and Puppy Castello.

After the screening there will be a discussion about the ideas presenting in the film.

Friday August 18th, 8.30pm
Entrance: £4

Zorro Gris Milonga

I am also pleased to announce our first ‘’Zorro Gris’’ milonga, which is the only matinee (afternoon) social tango dance in the area.

Saturday September 2nd

3-4pm Tango Canyengue workshop
4-7pm Milonga
Workshop & Milonga: £8 /stud.6
Milonga: £7 /stud.5

Snacks will be provided.
System Gallery 
(2nd floor of Bar Loco)
22 Leazes Park Rd,
Newcastle upon Tyne.NE1 4PG



Ladies’Technique Workshop with Irene

*The musicality as a means of expression*

#Tango_music has been composed for #dance.

Each #orchestra has its own style and it needs a different#dance_technique and #expression.

In this #workshop we are going to learn how to recognise the pattern of a#tango_song and the #style identifier of each #composer.

We are also going to find out how to #dance #tunes even if we have not heard them before. We are going to focus on specific #major_orchestras of the #Golden_Age.

About Irene:

Sunday the 9th of July

Bar Loco, 2nd floor
22 Leazes Park Rd,
Newcastle upon Tyne

How Much?
£10 at the door


Why Tango came into the world?

by Irene Papagiannopoulou

The history and the philosophy of Argentine Tango (Intangible Cultural Heritage of Humanity – UNESCO) are based on many years of study and research.

Nobody can explain the meaning and the cms_1333543304546_yiddishtangophotoorigin of the word ‘tango’ precisely. The Spanish Royal Academy of Letters Dictionary (1803) recorded it as ‘tangir’. The term is associated with African dances. The same dictionary later in 1889, states: ‘African feast and dance or amusement for poor people of America’ (it refers to the spanish-speaking areas of the today’s Latin America). The weird thing is that the same dictionary in the 1925’s publication mentions: “Dance of the high society that cames to the America at the beginning of the century.” The last reference is indicative of how the Tango has changed to the human perception through the passing periods.

It is thought that Tango means ‘closed position’ or ‘cautious move on the floor’. This meaning is related to the Portuguese word ‘tangere’ that means ‘touch’. There is no coincidence in such a reading, if we take into account the attitude and the touch of the bodies during the dance.

The first song that became known as a kind of Tango was in 1857 entitled ‘Toma Mate che’. The lack of documents explained by the fact that the dance was created by obscure people whose history has never recorded.

The Argentine Tango is the result of several and different combinations. The most important seems to be the spanish-cuban styleHabanera’, the Argentine countryside’s ‘Milonga’ and the Afro Dance ‘Catombe’.

The most authentic form of the dance is placed around 1850 at the beginning of the economic migration to Argentina. The new visitors exceeded the local population of Buenos Aires. Germans, Spaniards, Italians and others brought their dances, their music and their lyrics and they gradually created a new civilization who began to assimilate and become the local culture.1236930_10201213783604756_731928860_n

Immigrants flooded the capital and they had lived in bad conditions. They worked long hours, they lived with many roommates in a single room, they entertained by one drink only. They held weapons and they patrolled the neighbourhoods illegally.

The ‘compadrones’ (godfathers,) were the first who danced Tango between men at the port. They were using movements that they resembled a wrestling. This was formally a representation for a woman who flirted with two men. In the countryside Tango was danced by the ‘gauchos’ (argentine cowboys).

Rumors about the existence of this dance in brothels are inaccurate. The prostitutes 267a0c748af7a4ce1369e643a71ffb66.jpghad not time to dance. The female population was less than the masculine, let alone that of prostitutes. There is a undetermined reference that men who waited to meet the strumpets, they danced with each other to spend their time until their turn.

In the ‘40s, the dance was in its golden era. Males felt incredible loneliness far from their homelands and they expected to find their better half. Although they were poor as a church mouse, every day they washed their suit, they used brilliantine on their hair, they put a polish on their shoes and they went to the tango dancing parties known as Milongas. There did not matter their origin or their social status, but the courtesy and the dancing flair.

They learned how to dance by dancing with men and they had to spend three to five years to visit their first Milonga. It considered unacceptable to make a woman feel uncomfortable because of their mistake, and if something had gone wrong at their first dance with a lady, they were returning again to their practice with men as followers to their dance. After several months they could go again at a Milonga. The woman was the flower that it was going to accompanies them for the rest of their life, so they should have respect for her.

The first tango songs were describing the underworld. Later the lyrics were narrating the love or the heartbreak, the longing for the homeland, the nostalgia for the beloved person who they would never face again. 164295_407616869334572_505334414_n.jpg

Tango travelled across the Atlantic Ocean it arrived in Europe and the dancers embraced it. In Argentina of 50’s and 60’s, the political conditions (after Peron’s end governance), the spread of Rock n’ roll and the new customs displaced Tango. In that period some citizens danced secretly, so we know nothing about what really were happening. For about 3 decades the famous dance was in the sidelined, especially when Astor Piazzolla was composing. He restructured the Tango music. His intention was to compose entirely acoustic music that was not designed for choreography. Ultimately the dancers loved him and they used his melodies in dance performances.

Over the past 20 years the dance reformed and adapted in order to suit the conditions. It is different when dancers are on the stage, not alike the same style in the milongas. But it still keeps its mystery and its magic, since everything is based on the improvisation. Above all, Tango is focused in the connection between two people.

The man leads, but not authoritatively , the woman follows, but not passively. He opens a way and she is beautify it with adornments, in a kind of conversation where they keep their personality by complementing each other.



Christine Denniston: The Meaning of Tango: The Story of the Argentinian Dance, Anova Books, 2007

Christos Loukos, ‘Histoire sociale du tango. Des faubourgs marginaux deBuenos Aires aux salons européens’, Mnimon Μagazine, vol.20 (1998)

Personal Interviews from Tango teachers and kept notes from the module ‘History of Latin America’ at the Ionian University, Department of History, Greece.