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In a practice hall in Johannesburg’s eastern suburbs, choreographer Lee-ché Janecke coached a group of young cheer performers through a routine. Following hours of practice of from fluid movements to vogue dance with pom-poms, the enthusiastic group came together around Janecke to create a short clip of one of the trending amapiano challenges. They finished in only two attempts.

Rising Worldwide Impact

Janecke has been at the vanguard of the increasing worldwide popularity of South African movement and sound over the recent years. Having worked with performer Tyla since she was seventeen, he created the internet sensation that accompanied breakout track “Water,” which catapulted the emerging African singer to international recognition.

“Reflecting about my journey I feel moved to realize this is where it’s come to, and that where it’s come to seems like a new start,” he said.

Early Years

Janecke grew up in a community in Cape Town and later Eldorado Park, both formerly referred to as “Coloured” areas. He heard his elder playing music legends, he performed at celebrations. Originally aimed to study finance after school, but succumbed to the attraction of dance, in which he has never been formally trained.

Career Evolution

Over a decade ago, he delved into femininity in dance and acknowledged himself as a gay man. He co-founded V.I.N.T.A.G.E, the country’s first group of male dancers focused on vogue and whack, movement genres that were born in the ballroom scene in the past decades.

His team, which grew to include female dancers and a fashion stylist, joined numerous on-air showcases. But, it came second in nearly every competition, something Janecke linked to the country not yet being open for queer performers.

In 2013, the group was attacked at a taxi stand as they returned from dancing at an LGBTQ+ celebration. A group converged on their transport, yelling and shaking the vehicle from back and forth, until the operator finally convinced them to disperse. “It felt like:‘Yeah girl, we’re done for you,’” said Janecke.

Breakthrough Opportunities

By 2015, the crew parted ways, as Janecke started getting booked individually, choreographing the talent show a broadcast series for multiple seasons. He was contracted by the singer’s initial team to coach her. “I sensed: ‘She has something about this girl.’ I noticed it in their eyes,” he said.

Recently, the rehearsal was just not long after the a major awards show. Tyla took home Best Afrobeats for Push2Start. The video was choreographed under his direction, who was also nominated for best choreography.

It represented the highest point of several two years of collaborating with Tyla worldwide on everything from The Voice finale to the BET Awards and Coachella. Janecke also choreographed US and UK shows for DJ Uncle Waffles and taught dance workshops at Ailey Extension, the school of the a prestigious group in the city, and at an LA-based space.

Next Plans

“Personally, the close of that period is the industry acknowledgment,” Janecke said. He was on set when he found out he had been shortlisted: “I instantly became emotional. It overwhelmed me, I feel I continue to feel moved, because … I stayed awake, 3am, to view the ceremony as it happened. I was certain that this moment is where my destiny lies.”

He gestured as he spoke, getting up to perform steps. “I must take the proper measures to persist in sharing and building my name known, separate from the names associated with it.”

He shared his ambitions – securing a stateside manager, partnering with names such as international acts to music icons, and entering the Korean pop industry, advertising and stage productions. He cited a peer Robbie Blue as representing the standard he is confident he is able to attaining.

Remaining Loyal

Even so, Janecke was emphatic he would keep working with Tyla: “She is like family forever … She remains passionate about making songs and genuinely transforming the landscape globally.”

While Janecke shared frustration that South Africa lacked the professional and seamless industry standards of the United States, he said he was African to his core. “My African dream achieved a dance performed by the international community … so, in my view, what I pursue is a dream rooted in Africa.”