Career
Early Teaching and Ballet Instrution
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Lee began teaching ballet after her family moved to Melaka in 1957. With no local dance teachers available, she offered classes to children for a minimal fee of RM 12.50 per month.
She later taught in Kuantan, using her sister’s school hall to run ballet classes. While attending the University of Malaya, Lee continued teaching wherever possible, including kindergarten and Methodist halls in order to support herself. “In those days, it was not easy to get into the university, so when I graduated, many people asked when I would start on a “proper” job. My answer was simple: teaching ballet was a proper job,” she quoted in an interview with The Star in June, 2009 |
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Federal Academy of Ballet
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In 1967, Lee Lee Lan founded the Federal Academy of Ballet, which started in a small house in Petaling Jaya. The ballet school allowed many dancers, such as Joseph|Victor Gonzales, to achieve successful dance careers or dance schools in Malaysia and overseas.
Under the school, Lee Lee Lan also offerred part time and full time teacher training courses leading to a Diploma of the Federal Academy of Ballet and Certificates of the Royal Academy of Dancing and the Imperial Society of Teachers of Dancing, London. Through these programs offerred by her school, Lee Lee Lan's students were able to study at distinguished foreign dance schools such as the Royal Ballet School, and some won well-earned scholarships from Bush Davies, Central School of Ballet, Urdang Academy and the London Studio Centre. |
I have taught people from all walks of life - from taxi drivers to koay teow sellers, and some of them have opened their own ballet schools,” Lee quoted in an interview with The Star in June, 2009, who always encouraged boys to pick up ballet. |
Choereography
While at the University of Malaya, Lee choreographed stage musicals including Show Boat, West Side Story, Flower Drum Song, and Progy & Bess
Lee's knowledged of contemporary trends of the day propelled her in adding a more progressive dances on Malaysian television, including Antara Empat Kaum series which encouraged and supported cultural diveristy. Her use of contemporary trends helped her gain exposure and opportunities to dance for Merdeka festivals, and TV variety shows like Serbanika and Anekatari.
In 1975, she formed the touring Federal Ballet Group, performing in Kuantan, Ipoh, Penang, Malacca, and Singapore.
After a period at the Martha Graham School of Contemporary Dance in New York, Lee Lee Lan was inspired to embark in even more ambitious choreography which lead to a three-act ballet, Soraya, that first premiered in 1981 with the Federal Academy of Ballet and the Kuala Lumpur Symphony Orchestra at Dewan Tunku Chancellor, University of Malaya. It was performed for Sultan Ahmad Shah in 1982 at Dewan Dandaraya, Kuala Lumpur. Soraya represented an early attempt to integrate traditional Malay dance elements and cultural costumes into classical ballet.
Lee's knowledged of contemporary trends of the day propelled her in adding a more progressive dances on Malaysian television, including Antara Empat Kaum series which encouraged and supported cultural diveristy. Her use of contemporary trends helped her gain exposure and opportunities to dance for Merdeka festivals, and TV variety shows like Serbanika and Anekatari.
In 1975, she formed the touring Federal Ballet Group, performing in Kuantan, Ipoh, Penang, Malacca, and Singapore.
After a period at the Martha Graham School of Contemporary Dance in New York, Lee Lee Lan was inspired to embark in even more ambitious choreography which lead to a three-act ballet, Soraya, that first premiered in 1981 with the Federal Academy of Ballet and the Kuala Lumpur Symphony Orchestra at Dewan Tunku Chancellor, University of Malaya. It was performed for Sultan Ahmad Shah in 1982 at Dewan Dandaraya, Kuala Lumpur. Soraya represented an early attempt to integrate traditional Malay dance elements and cultural costumes into classical ballet.
Plot summary
- Act I – The Meetings Early Morning in the market place of a kampung in Malaysia. Vendors bring their goods to sell and the market place comes alive with shoppers. The youth of the kampung come out to dance and shop. Soraya and Suhaimi meet and fall in love. The parents also come out to shop and the local matchmaker takes the opportunity to try to get Soraya to marry the wicked Bomoh. Soraya rejects the Bomoh, who becomes enraged. The Bomoh returns when Soraya is alone and captures her.
- Act II – The Fight The Bomoh carries Soraya off to the caves. He tries to woo her to no avail. Desperate, he uses his magical powers to bring forth a group of hantus who start to taunt and force her to accept the Bomoh. The timely arrival of the villagers and Suhaimi ends in a fight between Suhaimi and the Bomoh. The latter is killed and there is great rejoicing when Soraya’s father consents to Suhaimi marrying Soraya.
- Act III – The Wedding Soraya and Suhaimi are married and a bersanding ceremony is held. The celebration ends with guests dancing and performers coming to add colour to the wedding.
In 1984, her work See Not, Hear Not, Speak Not with KLDT won a prize at the Saitama Choreographic Competition in Tokyo, depicting Malaysia’s history from independence to a hopeful future. The item depicts the history of Malaysia from birth of an independent nation to the days of the emergency when there was tension and terror everywhere to the erection of the "Tugu" and a bright future ahead
I don't think the movements combine all the racial elements - that's too ambitious at this stage But other cultural elements have crept in; the music, composed by Fauzi Majid is especially Malay sounding. Of course many more workshops will be needed before we can actually create a dance form that is recognisably Malaysian. But this performance marks the successful beginning of a very important experiment." she quoted in The Star in December, 1990 |
In 1990, she participated in the Ministry of Culture’s Bengkel Koreografi, as part of the initiative of the Cultural, Arts and Tourism Ministry to develop a national dance form which all races can identify with, the programme , Bengkel Koreografi, brought together four leading choreographers from different dance disciplines in Malaysia, one of them was Lee Lee Lan. Lee Lee Lan was recognised as one of the most experienced ballet and modern dance choreographers in Malaysia and was invited to represent Western dance. As a result of the programme and workshops, Lee Lee Lan choreographed and contributed a 15 minute dance- drama Kota Baru 1941 which depicts kampung life in Kelantan and the effects of Japanese invasion.
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She also choreographed Wind and, in 1999, Lee Lee Lan choreographed Dance Classique, one of the major productions to launch at the National Arts venue, Istana Budaya, in Kuala Lumpur, Malaysia.
“Anybody who wants to take a career in dance must realize that it is really a labour of love, it is hard work but the rewards are fantastic.” – Lee Lee Lan
Kuala Lumpur Dance Theatre
In 1984, Lee Lee Lan together with Tan Sri Lim Kok Wing, formed the Kuala Lumpur Dance Theatre (KLDT), Malaysia's first professional ballet company. KLDT was a unique blend of Ballet, Modern and traditional Malay dance, which travelled across the world - Italy, China, Mongolia, Costa Rica, Japan, South Korea, Singapore, Indonesia, Phillippines, England and America, and of course Malaysia.
Some of KLDT's performances and debuts:
1984: First performance entitled High Energy.
1984: the KLDT performance of Wind and See Not, Hear Not, Speak Not, which won the Saitama Choreographic competition.
1989: the KLDT performed for the Congress of the Imperial Society of Teachers of Dancing in London.
1990: the KLDT performed at the Austrian Weiner Opernball in Kuala Lumpur which was attended by the Yang di- Pertuan Agong Sultan Azlan Shah and Raja Permaisuri Agong Tuanku Bainun.
1991: the KLDT performed in the International Festival of Dance in Manila.
1993: the KLDT debut at Macau Dance Festival, where they took part in the Etnographic Parade whereby all foreign and local groups paraded in their national and traditional costumes.
2000: the KLDT performed in the 55th Almond Flower Festival and the 45th International Folk Festival in Sicily, Italy.
2000: the KLDT performed in the Miao Li International Leisure Culture Festival in Taiwan.
Some of KLDT's performances and debuts:
1984: First performance entitled High Energy.
1984: the KLDT performance of Wind and See Not, Hear Not, Speak Not, which won the Saitama Choreographic competition.
1989: the KLDT performed for the Congress of the Imperial Society of Teachers of Dancing in London.
1990: the KLDT performed at the Austrian Weiner Opernball in Kuala Lumpur which was attended by the Yang di- Pertuan Agong Sultan Azlan Shah and Raja Permaisuri Agong Tuanku Bainun.
1991: the KLDT performed in the International Festival of Dance in Manila.
1993: the KLDT debut at Macau Dance Festival, where they took part in the Etnographic Parade whereby all foreign and local groups paraded in their national and traditional costumes.
2000: the KLDT performed in the 55th Almond Flower Festival and the 45th International Folk Festival in Sicily, Italy.
2000: the KLDT performed in the Miao Li International Leisure Culture Festival in Taiwan.
The Dance Society of Malaysia
On the 8th of September 1985, Lee invited dance teachers and individuals interested in dance to discuss the idea and possibility of creating Malaysia's first dance society.
By December 1986, a year later, the Dance Society of Malaysia was registered and the Pro-Tem Committee became the first official Committee under its first President and Founder Lee Lee Lan.
1988: The YAM Tunku Dara Tunku Tan Sri Naquiah Bte Almarhum Tuanku Ja'afar was invited as Patron.
1988 - 1991: The Dance Society of Malaysia organised 4 junior dance competitions. After a lapse, the competition was revived and continued from 1998 - 2006, and from 2008 - present.
Since 1991: The Dance Society of Malaysia has organised many workshops by local and international dance teachers. They have also worked in collaboration with Danceworks Production to present International Ballet Gala 2012 and La Bayadere 2015.
By December 1986, a year later, the Dance Society of Malaysia was registered and the Pro-Tem Committee became the first official Committee under its first President and Founder Lee Lee Lan.
1988: The YAM Tunku Dara Tunku Tan Sri Naquiah Bte Almarhum Tuanku Ja'afar was invited as Patron.
1988 - 1991: The Dance Society of Malaysia organised 4 junior dance competitions. After a lapse, the competition was revived and continued from 1998 - 2006, and from 2008 - present.
Since 1991: The Dance Society of Malaysia has organised many workshops by local and international dance teachers. They have also worked in collaboration with Danceworks Production to present International Ballet Gala 2012 and La Bayadere 2015.
Awards of Lee Lee Lan
1984 - Prize from the Saitama Choreographic Competition (Tokyo) for See Not, Hear Not, Speak Not
1992 - Avon Woman of Distinction Award for her leadership and entrepreneurship
1992 - ISTD International Awards
2008 - BOH Cameronian Lifetime Achievement Award
In 2017, during the ISTD awards, Lee Lee Lan presented some awards named in her honour. The awards was to honour student's achievements in advocating ISTD and raising the profile of Modern, Tap and Classical Ballet across Malaysia
1992 - Avon Woman of Distinction Award for her leadership and entrepreneurship
1992 - ISTD International Awards
2008 - BOH Cameronian Lifetime Achievement Award
In 2017, during the ISTD awards, Lee Lee Lan presented some awards named in her honour. The awards was to honour student's achievements in advocating ISTD and raising the profile of Modern, Tap and Classical Ballet across Malaysia
