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In a practice hall in the eastern part of Jo’burg, choreographer Lee-ché Janecke coached a group of young cheer performers through their steps. Following hours of practice of everything from undulating motions to vogue dance with pom-poms, the excited group gathered round Janecke to create a short clip of one of the trending amapiano viral moves. They were done in just two takes.

Growing Worldwide Presence

Janecke has been at the leading edge of the increasing global recognition of South African movement and sound over the past few years. Having worked with performer Tyla since she was 17, he was responsible for the internet sensation that was part of breakout track “Water,” which catapulted the now 23-year-old South African singer to global stardom.

“When I speak about my life it makes me emotional to know this is where it’s arrived at, and that this moment seems like a new start,” he said.

Initial Years

His childhood was spent in a Cape Town neighborhood and later a Johannesburg area, both historically classified as “Coloured” townships. Inspired by his grandfather playing music legends, and would dance at celebrations. He initially aimed to study accounting after school, but was unable to resist the pull of dance, in which he has never been formally trained.

Career Path

In the early 2010s, Janecke was exploring identity in dance and acknowledged himself as gay. He was instrumental in launching a dance crew, the country’s first group of male dancers focused on vogueing and whacking, movement genres that were born in New York’s ball culture in the late 1980s and 1990s.

The crew, which grew to include all genders and a fashion stylist, participated in numerous on-air contests. Yet, it finished second in nearly every competition, something Janecke attributed to South Africa not yet being ready for openly LGBTQ+ dancers.

In 2013, the group was assaulted at a public transport stop as they returned from performing at an LGBTQ+ celebration. A crowd surrounded their vehicle, screaming and rocking the vehicle from side to side, until the operator finally urged them to break up. “It gave:‘Okay, this is the end for you,’” said Janecke.

Breakthrough Moments

In time, V.I.N.T.A.G.E had disbanded, as Janecke was hired individually, working on the talent show Idols South Africa for six years. He was brought on by Tyla’s early representatives to coach her. “I thought: ‘She has something about this girl.’ I noticed it in her eyes,” he expressed.

In the present day, the cheerleading practice was just not long after the VMAs. The singer won an award for Push2Start. The music video was designed under his direction, who was also recognized for outstanding movement.

It marked the pinnacle of more than two years of working with Tyla worldwide on everything from The Voice finale to the an entertainment ceremony and Coachella. Janecke also created international performances for a popular DJ and taught movement sessions at a New York institution, the studio of the Alvin Ailey American Dance Theater in the city, and at a Los Angeles venue.

Future Plans

“Personally, the completion of that phase is the VMA nomination,” Janecke said. He was working when he learned he had been shortlisted: “I instantly burst into tears. The feeling was intense, I think I continue to feel moved, because … I sat up, early morning, to watch the VMAs live. I was certain that this is where my path leads.”

Using his hands as he shared, rising to demonstrate steps. “It is essential to take the proper measures to keep communicating and getting my work recognized, independent of the artists linked to it.”

He shared his dreams – securing a American representative, working with everyone from pop stars to legends, and breaking into the Korean pop industry, brand campaigns and musicals. He mentioned a peer an industry name as achieving the caliber he knows he is capable of achieving.

Remaining Loyal

Even so, Janecke was clear he would keep working with Tyla: “She is like family forever … She is deeply dedicated about creating music and really shifting the landscape in the industry.”

Although Janecke shared concern that the local industry did not have the intentional and seamless professional conditions of the United States, he affirmed he stayed South African to his core. “The dream I hold created a movement embraced by the entire globe … so, for me, Lee-ché’s dream is an African dream.”