Inside a rehearsal space in Johannesburg’s eastern suburbs, movement director Lee-ché Janecke guided a team of cheerleading students through a routine. Following an extensive session of including undulating motions to voguing with pompoms, the energized group came together around Janecke to film a TikTok of one of the newest South African amapiano trends. They were done in only two attempts.
Growing Worldwide Presence
Janecke has been at the vanguard of the expanding global popularity of South African dance and music over the recent years. Having worked with performer Tyla since she was seventeen, he created the trending routine that was part of smash single “the song Water,” which propelled the young African singer to worldwide fame.
“When I speak about my life it touches me deeply to realize how far it’s arrived at, and that this moment seems like a brand new chapter,” he shared.
Initial Years
He was raised in a Cape Town neighborhood and later a Johannesburg area, both traditionally referred to as “mixed-race” communities. Inspired by his elder playing Madonna and Michael Jackson, and would dance at gatherings. At first aimed to study finance after school, but succumbed to the call of performance, in which he has never been formally trained.
Professional Journey
Over a decade ago, he delved into femininity in dance and acknowledged himself as a gay man. He helped establish a dance crew, the country’s first male dance crew focused on vogue and whack, styles that originated in the ball culture in the past decades.
The crew, which evolved to include female dancers and a fashion stylist, competed in numerous broadcast showcases. However, it finished second in all but the last one it entered, something Janecke attributed to South Africa not yet being open for queer performers.
Years ago, the group was targeted at a taxi stand as they returned from dancing at a pride event. A crowd converged on their transport, screaming and rocking the taxi from one side to the other, until the operator finally urged them to break up. “It gave:‘Okay, we’re done for you,’” said Janecke.
Key Achievements
By 2015, the crew parted ways, as Janecke began receiving offers solo, choreographing the talent show a popular show for multiple seasons. He was contracted by Tyla’s early representatives to work with her. “I sensed: ‘There is potential about her.’ I can see it in their eyes,” he said.
In the present day, the cheerleading practice was just shortly after the a major awards show. The singer took home an award for a track. The music video was designed under his direction, who was also shortlisted for best choreography.
It marked the pinnacle of more than two years of working with Tyla internationally on events like a singing competition to the a music awards show and a major event. Janecke also created international performances for a popular DJ and led movement sessions at a dance studio, the school of the a renowned company in NYC, and at an LA-based space.
Upcoming Ambitions
“Personally, the close of that period is the VMA nomination,” Janecke said. He was filming when he found out he had been honored: “I instantly burst into tears. The feeling was intense, I think I still get emotional, because … I stayed awake, in the night, to view the VMAs live. I was certain that here is where my future awaits.”
He gestured as he talked, rising to show dance moves. “I have to take the correct actions to persist in expressing and getting my name known, away from the names associated with it.”
He listed his goals – securing a US agent, working with everyone from international acts to Beyoncé and Madonna, and making inroads in the Asian entertainment scene, commercials and stage productions. He cited fellow choreographer an industry name as achieving the caliber he knows he is able to reaching.
Keeping Roots
However, Janecke was emphatic he would continue collaborating with Tyla: “We have a bond for life … She is deeply dedicated about making songs and genuinely changing the landscape in the industry.”
While Janecke voiced concern that South Africa was missing the structured and seamless professional conditions of the United States, he said he remained South African to his core. “My African dream created a routine performed by the international community … therefore, to my mind, Lee-ché’s dream is a vision born on this continent.”
