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Within a dance studio in east Johannesburg, choreographer Janecke coached a squad of student cheerleaders through choreographed moves. Following five hours of everything from undulating motions to ballroom-inspired cheer moves, the enthusiastic group gathered round Janecke to create a TikTok of one of the newest South African amapiano trends. They were done in just two takes.

Expanding Global Influence

Lee-ché has remained at the vanguard of the expanding international recognition of South African dance and music over the last several years. Having worked with singer the star since she was a teenager, he choreographed the internet sensation that went with hit song “the song Water,” which propelled the young SA artist to worldwide fame.

“Reflecting about my path I feel moved to know the point it’s come to, and that where it’s come to seems like a new start,” Janecke expressed.

Initial Beginnings

Janecke grew up in a community in Cape Town and later another township, both traditionally known as “mixed-race” areas. Influenced by his grandpa playing pop icons, he danced at celebrations. At first aimed to study accounting after school, but succumbed to the call of dance, in which he has never been formally trained.

Professional Evolution

In the early 2010s, he began embracing femininity in dance and embraced himself as a gay man. He helped establish a dance crew, the country’s first group of male dancers focused on ballroom-inspired styles, dance forms that were born in the ballroom scene in the past decades.

The group, which evolved to include all genders and a style consultant, participated in numerous on-air dance competitions. Yet, it came second in almost all event, something Janecke linked to local audiences not yet being prepared for LGBTQ+ artists.

Years ago, the group was targeted at a taxi stand as they returned from appearing at Soweto Pride. A crowd surrounded their taxi, shouting and rocking the vehicle from one side to the other, until the driver finally urged them to disperse. “It felt like:‘Well, this is the end for you,’” shared Janecke.

Breakthrough Opportunities

By 2015, V.I.N.T.A.G.E had disbanded, as Janecke started getting booked solo, working on the talent show Idols South Africa for multiple seasons. He was hired by the singer’s initial team to coach her. “I thought: ‘There is potential about her.’ I noticed it in the expression,” he recalled.

Fast-forward to 2025, the rehearsal was just not long after the a major awards show. The artist took home a trophy for her song. The music video was designed by Janecke, who was also recognized for outstanding movement.

This was the highest point of more than two years of working with Tyla worldwide on everything from The Voice finale to the an entertainment ceremony and a major event. Janecke also created US and UK shows for a popular DJ and led dance workshops at a dance studio, the school of the a prestigious group in NYC, and at Playground in LA.

Upcoming Ambitions

“Personally, the end of that chapter is the awards recognition,” Janecke said. He was filming when he discovered he had been shortlisted: “I instantly started crying. The feeling was intense, I think I continue to feel moved, because … I sat up, in the night, to see the ceremony as it happened. I was certain that this is where my future awaits.”

Using his hands as he spoke, getting up to show dance moves. “I have to take the proper measures to continue communicating and getting this brand known, away from the artists linked to it.”

He outlined his goals – finding a stateside manager, partnering with names such as Dua Lipa and Doechii to legends, and breaking into the Korean pop industry, advertising and theater. He cited a peer Robbie Blue as representing the caliber he believes he is able to reaching.

Staying True

Nonetheless, Janecke was emphatic he would continue collaborating with Tyla: “She is like family always … She remains dedicated about creating music and truly changing the conversation of the world.”

Even as Janecke expressed concern that his home country was missing the structured and efficient industry standards of the United States, he stated he stayed South African at heart. “My vision achieved a dance performed by the international community … therefore, in my view, what I pursue is an African dream.”