Konfectionery Dance Camp, on May 2 and 3, transformed Athens into a meeting point for Seoul dance level. The two-day convention was held at Amaksostasio OSY in Athens and focused on training, methodology and performance. Choreographers Gun Lee, Gunmin and Yan were invited to lead workshops and judge a K-pop dance competition. Konfectionery, welcomed dancers of all levels and aimed to introduce what organizers described as the “Seoul Standard” to Greece, by creating a space where participants could experience the discipline, creativity and performance approach of Korea’s contemporary dance scene firsthand.
Through the concept “The misunderstood Game”, the convention sought to present a side of Korea often overshadowed by idol culture, emphasizing the foundations of street dance, musicality and artistic expression rooted in Seoul’s urban dance scene. For this purpose, Konfectionery selected three artists actively involved in Korea’s contemporary choreography industry. Gun Lee is a Korean dancer and choreographer known for his work with groups such as LE SSERAFIM and Stray Kids, as well as for participating as one of the dancers in Stray Kids’ “Dominate” world tour. Gunmin debuted in 2014 in B.I.G as the main dancer and vocalist and is also a member of the co-ed project group Triple 7. He is a professional choreographer and instructor at major Korean dance studios including 1Million, Project Lee, Different from Same and Just Jerk Academy, while contributing choreography for the group A.C.E. Yan, a Japan-born artist, choreographer and model based in Korea and the US, teaches at The Guild, Urban Play Dance Academy and Just Jerk Academy and is recognized for her expertise in urban and contemporary dance styles.
On May 2 upon entering the venue, participants were welcomed by Angelos Petrou, founder and CEO of GET AP Dance Studios and Konfectionery, who introduced the instructors and presented the philosophy behind the convention. Founded during the lockdown period, GET AP has since evolved into a creative hub for Greece’s dance community, combining dance, street culture and artistic expression through projects such as Konfectionery.
The workshops began with EL.EVEN, the Greek dance duo formed by Eleni Giannopoulou and Evi (Paraskevi) Petraki, both of whom have trained extensively in Korea and previously taught choreography there. Their opening class set to “TICK TOCK” produced by ZICO and Crush, introduced dancers to an urban hip-hop choreography that blended groove, musicality and performance-driven movement. With their engaging teaching style, EL.EVEN quickly energized the room, as dancers cheered one another on and became increasingly confident throughout the class.
Gun Lee opened the first international masterclass of the day, with choreography to Tate McRae’s “Revolving Door”. The routine was challenging from the start, focusing on sharp textures, had rhythmic precision and offered charismatic stage presence. Despite the choreography’s difficulty level, participants responded enthusiastically, encouraged by the teacher’s patient teaching style and clear explanations. Throughout the entire session, Gun Lee repeatedly encouraged dancers not to stress over getting every move perfect, but instead to enjoy the moment and express themselves naturally.
Gunmin then followed with a hip-hop choreography to “Dust” by Know Good. The class had a complete different feeling, placing more emphasis on groove, control and musical interpretation. Blending smooth movements with powerful bursts of energy, the choreography encouraged dancers to fully connect with the music and rhythm. During the session, Gunmin shared that this was his first time visiting Europe and thanked everyone for the opportunity to teach in Athens.
The final masterclass of the day was led by Yan with a performance to “Party People” by Nelly. Rooted in street dance foundations, the choreography combined fast-paced movements, expressive gestures, confidence and high energy. The electrifying atmosphere concluded the first day’s workshop on an explosive note, leaving dancers eager for more.
Later in the evening, Konfectionery’s K-pop dance competition brought together performers and spectators from different areas of Greece. The judging panel included Gunmin, Yan and Jennie Veneno, founder of Flow Dance Lab in Athens, while GET AP members Erifilli Vlachaki and Giannis Papakonstantopoulos hosted the competition with humor and vibrant energy.
Participants were evaluated on synchronization, stage presence, performance quality, styling and technical execution. In the youth solo category, Nikolina Maroulakou won first place with a performance to Xikers’ “ICONIC”, while Ira Velinova claimed first place in the adult solo category with PIXY’s “Wings”. The mini crew category was won by Mason & Phil with their performance to “Fame”. In the youth crew category, Queenies received first place for their performance to KISS OF LIFE’s “Who is she”, while Black Unit won the adult crew category with CLC’s “Helicopter”. The original choreography category was won by Sinners with a choreography to BIBI’s “Animal Farm”, earning the team the opportunity to teach their choreography during the second day of the convention.
May 3 began with Sinners teaching their winning choreography before the international instructors returned for another series of masterclasses. Yan opened the day with a routine to a remix of Michael Jackson’s “Jam”, presenting an athletic and groove-heavy routine inspired by street dance and focusing on groove and stamina. Afterwards, Angelos Petrou taught a commercial-style choreography to “Bad Angel” by Anyma and BLACKPINK’s Lisa. This piece combined fluid transitions with robotic accents, while also incorporating elements inspired by vogue and waacking.
Gun Lee later returned with choreography to “LICK THE BEAT” by Parris Goebel, emphasizing explosive movement quality, aggressive textures and strong stage charisma. The convention’s final class was then led by Gunmin, who shifted the mood with an R&B choreography to “Crescent Lounge Evenings” by Devron Creative. Gunmin told us that he came up with this choreography on the same day, inspired by how Greece made him feel. Although dancers had already spent more than sixteen hours of training throughout the weekend, they continued performing with commitment and emotional intensity until the very last song.
At the end of the session, Gunmin addressed the dancers with a heartfelt message reflecting the supportive atmosphere that had developed during the convention. “I’m really happy to be here in Athens”, he said. “From yesterday until now, I really like my life – traveling, meeting many dancers and dancing together. Thank you for joining my class. I always do mistakes, so do mistakes and keep trying”.
One of the things that stood out during the convention was the relationship between the instructors themselves. Beyond teaching, the choreographers actively participated in one another’s classes, learning choreography together alongside the attendees. Throughout the weekend, they consistently encouraged everyone not to be afraid of mistakes and instead focus on enjoying the process of growth and expression, creating an atmosphere that felt collaborative rather than hierarchical.
Following the conclusion of the event, I had the opportunity to speak with Angelos Petrou, founder of Konfectionery, about the vision behind bringing Seoul-inspired dance to Athens.
What makes Korean choreography and performance style so influential worldwide today?
Angelos Petrou: I think Korea cracked a code that the rest of the world was still trying to figure out. They understood that dance isn't just movement, it's a full cultural product. The precision, the storytelling, the way they package performance with identity and aesthetics... It's a complete world, not just a choreography. And honestly, they work incredibly hard (proven at Konfectionery!). There's a discipline and a commitment to craft there that is humbling. When you combine that with global platforms like YouTube and TikTok, the reach becomes inevitable. Korea didn't wait for the world to discover them. They built something so undeniable that the world had no choice.
What was your vision behind bringing Gun Lee, Gunmin, and Yan to Konfectionery?
Angelos Petrou: I didn't want to just book "names." I wanted to bring people - artists with real stories, real roots, real connection to the culture. Gun Lee carries a weight of experience and artistry that you feel the moment he moves. Gunmin has this energy that just pulls you in - raw, honest, powerful. And Yan brings a perspective that bridges worlds in a way that feels fresh but deeply grounded. Together, they weren't just three guests. They were three different doors into the same culture. I wanted people in Athens to stand in front of those doors and choose which one resonated with them most. That's what builds a real dance community; not one path, but many.
How does being both a creator and a performer shape your connection with the community?
Angelos Petrou: It keeps me real. I think the moment you stop doing the thing you're asking others to do, you start losing the right to lead it. Being on that stage as a choreographer, not as the organizer, not as the founder, just as a dancer with something to say - it reminded me why I started all of this. And I think the community feels that. They don't see a promoter up there. They see someone who is still in it, still vulnerable, still learning. That shared vulnerability is where real connection lives. I never want to lose that.
What kind of impact do you hope people took home with them?
Angelos Petrou: I hope they left feeling seen. Whether they were on the floor dancing, watching from the side, or creating content - I hope Konfectionery made them feel like what they love actually matters. That street dance culture is worth celebrating, worth investing in, worth traveling for. And beyond the feeling, I hope they left with relationships. A new friend, someone who speaks their language even if they'd never met before. Two days is short. But the right two days can change the direction of someone's whole year.
Have you personally been inspired by Korean artists in your own work?
Angelos Petrou: Absolutely! And I say that without any hesitation. There are choreographers from the Korean scene whose work genuinely shifted how I think about movement, about music interpretation, about what a performance can mean. I won't pretend I arrived at my own style in isolation. Nobody does. Every artist you admire leaves a fingerprint on you. The honest thing is to acknowledge that, learn from it, and then find your own voice within it. Korea gave me a lot of fingerprints I'm proud to carry.
Was creating a "safe space" something you intentionally aimed to build?
Angelos Petrou: Yes — but I want to be careful with those words, because "safe space" can sound like a marketing phrase if you're not careful. What I actually aimed for was something simpler and harder: a place where nobody feels like an outsider. Dance culture can be intimidating. There are hierarchies, there are cliques, there's a lot of unspoken competition. I never wanted that energy at Konfectionery and generally in GET AP. I wanted the beginner and the professional to be in the same room and both feel like they belonged there. If people are calling it a safe space, that means it worked. And that means more to me than any attendance number.
If you had to describe Konfectionery in one feeling, what would it be?
Angelos Petrou: Belonging. That moment when you walk into a room and you don't have to explain yourself. You don't have to justify why you love what you love. Everyone around you already gets it. That feeling is rare in life. If Konfectionery gave people even a few hours of that - I think we did something real.
What can we expect from Konfectionery 2027?
Angelos Petrou: Oh, is it official? I'll say this - everything we built in 2026 was the foundation. 2027 is the building. More artists, a bigger stage, but the same soul. We're not chasing scale for the sake of it. We're chasing depth. I want Konfectionery to become something people plan their year around - not just in Greece, but across Europe. And there are a few ideas on the table that I'm genuinely excited about that I can't share yet. But let's just say, the Korean connection is only the beginning of the cultural bridge we're trying to build. Stay close (and sweet!).
