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Within a practice hall in east Johannesburg, choreographer Lee-ché led a group of young cheer performers through their steps. After five hours of everything from body rolls to vogue dance with pom-poms, the excited group surrounded Janecke to film a short clip of one of the newest South African amapiano challenges. It was completed in only two attempts.

Rising International Impact

Janecke has been at the vanguard of the increasing global recognition of African music and dance over the recent years. Having worked with singer Tyla since she was a teenager, he choreographed the internet sensation that went with smash single “Water,” which launched the young South African singer to global stardom.

“When I speak about my journey it makes me emotional to know this is where it’s come to, and that where it’s come to feels like a fresh beginning,” he said.

Formative Roots

He was raised in Bonteheuwel and later Eldorado Park, both historically classified as “Coloured” townships. Inspired by his grandfather playing Madonna and Michael Jackson, he danced at family events. He initially aimed to study business after school, but was unable to resist the attraction of performance, in which he has is self-taught.

Career Evolution

Over a decade ago, he began embracing identity in dance and accepted himself as LGBTQ+. He co-founded a performance group, South Africa’s first male dance crew focused on ballroom-inspired styles, styles that emerged in New York’s ball culture in the past decades.

The crew, which expanded to include female dancers and a style consultant, joined numerous broadcast contests. Yet, it placed as runner-up in nearly every competition, something Janecke attributed to local audiences not yet being prepared for queer performers.

During one incident, the group was targeted at a taxi stand as they returned from dancing at a pride event. A crowd encircled their vehicle, screaming and moving the taxi from back and forth, until the operator finally persuaded them to disperse. “It felt like:‘Well, it’s over for you,’” said Janecke.

Key Opportunities

In time, the crew parted ways, as Janecke began receiving offers solo, working on the TV program a broadcast series for an extended period. He was contracted by the singer’s first manager to train her. “I thought: ‘There is potential about this artist.’ It’s visible in the expression,” he expressed.

In the present day, the rehearsal was just shortly after the VMAs. The artist took home an award for a track. The visual was choreographed by him, who was also recognized for best choreography.

It represented the peak of several two years of collaborating with Tyla worldwide on everything from a singing competition to the an entertainment ceremony and a major event. Janecke also created international performances for an artist and instructed amapiano classes at a New York institution, the space of the a prestigious group in NYC, and at a Los Angeles venue.

Future Ambitions

“In my view, the end of that chapter is the awards recognition,” Janecke said. He was on set when he discovered he had been nominated: “I at once started crying. I was so emotional, I feel I continue to feel moved, because … I stayed awake, 3am, to see the awards broadcast. I always knew that this moment is where my future awaits.”

Using his hands as he spoke, standing to perform routines. “It is essential to take the right steps to continue expressing and establishing my name recognized, separate from the names associated with it.”

He outlined his ambitions – getting a American representative, partnering with names such as international acts to music icons, and breaking into the Korean pop industry, brand campaigns and musicals. He mentioned a peer a talented creator as achieving the caliber he knows he is positioned for attaining.

Staying True

However, Janecke was emphatic he would keep working with Tyla: “We have a bond always … She is deeply passionate about creating music and genuinely transforming the conversation in the industry.”

Even as Janecke voiced disappointment that the local industry did not have the structured and efficient working environment of the America, he affirmed he stayed South African to his core. “My African dream achieved a dance performed by the international community … therefore, for me, my aspiration is a dream rooted in Africa.”