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In a rehearsal space in east Johannesburg, movement director Lee-ché guided a squad of student cheerleaders through their steps. Following an extensive session of everything from body rolls to ballroom-inspired cheer moves, the energized group surrounded Janecke to create a short clip of one of the latest amapiano viral moves. It was completed in a couple of tries.

Growing International Impact

Janecke has been at the leading edge of the increasing worldwide appeal of SA movement and sound over the last several years. Partnering with artist Tyla since she was a teenager, he created the internet sensation that accompanied hit song “the song Water,” which catapulted the emerging African artist to global stardom.

“Reflecting about my journey it touches me deeply to realize how far it’s come to, and that where it’s come to feels like a fresh beginning,” Janecke expressed.

Initial Years

Janecke grew up in Bonteheuwel and later a Johannesburg area, both historically referred to as “mixed-race” communities. Inspired by his grandfather playing Madonna and Michael Jackson, and would dance at family events. Originally intended to study business after school, but could not ignore the call of dance, in which he has learned informally.

Professional Path

By 2011, Janecke was exploring identity in dance and embraced himself as gay. He was instrumental in launching a performance group, South Africa’s first male dance crew focused on vogue and whack, movement genres that emerged in NYC’s underground dance community in the ’80s and ’90s.

The crew, which expanded to include all genders and a style consultant, joined numerous on-air contests. However, it finished second in all but the last one it entered, something Janecke attributed to the country not yet being ready for queer performers.

Years ago, the group was assaulted at a taxi stand as they returned from performing at Soweto Pride. A mob surrounded their transport, shouting and rocking the taxi from side to side, until the conductor finally persuaded them to leave. “It was:‘Yeah girl, this is the end for you,’” shared Janecke.

Breakthrough Opportunities

By 2015, V.I.N.T.A.G.E had disbanded, as Janecke began receiving offers individually, directing the TV program Idols South Africa for an extended period. He was hired by Tyla’s first manager to work with her. “I thought: ‘There is potential about her.’ I noticed it in the expression,” he said.

In the present day, the rehearsal was just a few days after the MTV Video Music Awards. Tyla received a trophy for a track. The music video was designed under his direction, who was also nominated for outstanding movement.

It represented the peak of more than two years of partnering with Tyla internationally on events like a TV finale to the a music awards show and a major event. Janecke also choreographed international performances for an artist and instructed movement sessions at Ailey Extension, the space of the a renowned company in NYC, and at an LA-based space.

Upcoming Plans

“Personally, the end of that chapter is the industry acknowledgment,” Janecke said. He was on set when he learned he had been nominated: “I immediately became emotional. The feeling was intense, I feel I still get emotional, because … I woke up, in the night, to view the VMAs live. I felt convinced that this moment is where my path leads.”

He gestured as he shared, standing to demonstrate dance moves. “I must take the proper measures to continue sharing and establishing my work known, independent of the figures associated with it.”

He shared his ambitions – getting a US agent, collaborating with everyone from Dua Lipa and Doechii to music icons, and making inroads in the K-pop market, advertising and musicals. He cited a peer an industry name as representing the caliber he believes he is positioned for reaching.

Keeping Roots

However, Janecke was assertive he would keep working with Tyla: “We have a bond forever … She’s very passionate about making songs and genuinely changing the conversation globally.”

Even as Janecke shared disappointment that the local industry lacked the intentional and smooth working environment of the United States, he affirmed he remained South African to his core. “My African dream got a dance performed by the whole world … thus, for me, what I pursue is an African dream.”