Draft:Lee Lee Lan
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Lee Lee Lan | |
|---|---|
 Lee Lee Lan in 1958 for her fund raising concert | |
| Born | Tan Lee Lan 16 September 1944 |
| Died | 16 May 2022 Cremated |
| Nationality | Malaysian |
| Education | University of Malaya |
| Occupation(s) | Ballerina, Choreographer, Entreprenuer |
| Spouse | Lee Kim Tak |
| Children | Lee Hoong Kee , Lee Pek Kuen |
| Relatives | Tan Tuan Boon (father), Soo Kuo Hsiang (mother), Tan Lee Lee (eldest sister), Tan Wee Kiat (eldest brother), Tan Lee Lian (second eldest sister), Tan Yee Beng (second eldest brother), Tan Lee Ling (yongest sister) |
| Awards | 1984 - Prize from the Saitama Choreographic Competition (Tokyo) for See Not, Hear Not, Speak Not
1992 - Avon Woman of Distinction Award 1992 - ISTD International Award 2008 - BOH Cameronian Lifetime Achievement Award |
Lee Lee Lan ( née Tan Lee Lan; 16 September 1944 - 16 May 2022 ) was a prominent Malaysian dancer, ballet advocate, choreographer, and the esteemed founder of the Federal Academy of Ballet . Her contributions to the world of dance have left an indelible mark, shaping the careers of numerous professional dancers and dance teachers, includingJoseph|Victor Gonzales,Vicknendran Siva Lingham, David Lee & Andrew Pan.
Lee Lee Lan held various distinguished positions, including being the First Asian Examiner for Ballet, Modern, and Tap appointed by the Imperial Society of Teachers of Dancing. She was also a former Fellow of the Imperial Society of Teachers of Dancing, London, in both ballet and modern branches, and served as the ISTD National organizer for Theatre examinations in Malaysia.[1] These accomplishments solidified her as "the first lady of Malaysian ballet.".[2]
In addition to her pivatol roles, Lee Lee Lan was the Founder and President of the Dance Society of Malaysia, Vice - President of the World Dance Alliance (AP)[3], and was on the Committee of C.I.O.F.F (The International Council of Folklore Festival and Folk Arts Organization).[1]
Early Life[edit]
Born Tan Lee Lan in Brickfields, Kuala Lumpur, on 16 September 1944, Lee Lee Lan hailed from a family with a background in education and public service. Her early exposure to ballet came through lessons with dance academics Soonee Goh and Blossom Shek.[1] Later, under the guidance of British RAD ballet instructor Ethel Foxcroft at Le CoqDor Mansion, Jalan Ampang, Lee honed her ballet skills.[4] [5]
Despite challenges arising from her family's relocation to Melaka in 1957 due to her father's political career, Lee persevered, dedicating weekends for three years to commute between Melaka and Kuala Lumpur to attend Foxcroft's dance courses, as there were no ballet teachers in Melaka at the time. Notably, in 1958, while in Form 3 in secondary school, Lee presented a solo performance for a fundraising concert at Siang Lin Primary School, marking Melaka's first live ballet performance.[6]
Academic Pursuits[edit]
Lee's commitment to ballet did not waver, and she achieved all 7 distinctions in her lower certificate examination amid her demanding schedule.[6] Furthering her education, she pursued a Bachelor of Arts degree in Economics and History at theUniversity of Malaya,[2] graduating in 1968.[4]
Her pursuit of excellence in dance education continued as she obtained the Advanced Teacher's Certificate from the Royal Academy of Dance (London) in 1974. Subsequently, Lee became an ISTD Imperial Examiner in 1985, a Modern Examiner in 1992, and a Tap Associate since 1987.[7]
Career[edit]
In the 1960s, Lee Lee Lan balanced her studies at the University of Malaya with teaching ballet on a part-time basis and engaging in the theatre scene. Her choreographic debut occurred in university musicals such as "West Side Story," "Flower Drum Song," [8] & "Show Boat."[4]
The pivotal moment in her career unfolded in 1967 when Lee founded the Federal Academy of Ballet, initially operating from a small house in Petaling Jaya.[2][4]The academy played a transformative role, producing successful dancers and establishing itself as a prominent institution in the Malaysian arts scene.[4]
“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.[5]
Lee's influence expanded beyond the academy, as she incorporated progressive dances into Malaysian television, notably the "Antara Empat Kaum" series. Her contemporary approach garnered opportunities to perform at Merdeka festivals and on TV variety shows like "Serbanika" and "Anekatari." [9][4]
In the early 1970s, Lee Lee Lan steered the Federal Academy of Ballet to prominence, earning recognition for her innovative productions, such as Wind and See Not, Hear Not, Speak Not - which won the prize at the Saitama Choereographic competition in Tokyo in 1984 with the Kuala Lumpur Dance Theatre.[10] The academy's senior ballet students, through extensive tours in Malaysia and Singapore, contributed significantly to its growth.[2]
International Engagements and Ambitious Choreography[edit]
As her career progressed, Lee Lee Lan worked under Irish-British choreographer Dame Ninnette De Valois ( founder of the Royal Ballet ) in London, where she danced in Checkmate.[4]
Inspired by her time at the Martha Graham School of Contemporary Dance in New York, she embarked on ambitious choreography, giving rise to the two-act ballet "Soraya.", to commissioned music by Julia Chong.[2]
"Soraya," premiered by the Kuala Lumpur Symphony Orchestra in 1981, showcased Lee's ability to weave a narrative rooted in Malaysian culture.[2][11] Soraya was performed again in 1982 for the King, Sultan Ahmad Shah[10] for a royal charity performance for The Red Crescent Society.[2] As summarised and analysed by Joseph Gonzales, Soraya was a story about:
"A princess kidnapped by a shaman and eventually saved by a knight in shining armour. While typical of balletlibretto, there was a clear effort to place this within the Malaysian context by making referencesto shamans, rituals, and the power of ‘black magic’ which is strongly entrenched in the Malaysian psyche. Parallels can be drawn between this theme and that of the pontianak and orang minyak horror flicks of the Malay film industry that were hugely popular and box-office smashes.The second act and finale of this ballet was the marriage ceremony accompanied by a medley of dancesfrom traditional Malay dance repertoire, such as the Tari Lilin (Candle Dance),Tari Kipas (FanDance), joget and Joget Gamelan, as well as Chinese and Indian dances, in ballet tights and pointéshoes. This was the Malaysian parallel to the divertissement usually found in the 4th or last acts ofthe famous classical ballet repertoire such as Swan Lake or Sleeping Beauty."[2]
In 1990, 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 was established. The programme brought together four leading choreographers from different dance disciplines in Malaysia. [12] 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. Lee choreographed and contributed a 15 minute dance- drama Kota Baru 1941 which depicted kampung life in Kelantan and the effects of the Japanese invasion.[12]
In 1999, Lee choreographed Dance Classique, one of the major productions to launch at the National Arts venue, Istana Budaya, in Kuala Lumpur, Malaysia.[4]
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.[13]
Kuala Lumpur Dance Theatre[edit]
In 1984, Lee Lee Lan, in collaboration with Tan Sri Lim Kok Wing, established the Kuala Lumpur Dance Theatre (KLDT), Malaysia's inaugural professional ballet company. KLDT, a fusion of ballet, modern, and traditional Malay dance, embarked on international tours, showcasing performances in various countries[2] such as Italy, China, Mongolia, Costa Rica, Japan, South Korea, Singapore, Indonesia, Phillippines, England and America, and of course Malaysia.[7]
In addition, the KLDT regularly commissioned well-known international choreographers such as Anthony Then (Founder of Signapore Dance Theatre) and Patrick Harding-Irmer (highly acclaimed contemporary dancer from the London Contemporary Dance Company) to create new works. [2]
The Dance Society of Malaysia[edit]
Lee Lee Lan's dedication to fostering dance culture led to the creation of Malaysia's first dance society. In 1985, she convened dance teachers and enthusiasts to discuss this pioneering idea, resulting in the establishment of the Dance Society of Malaysia in December 1986. Serving as the first President and Founder, Lee played a pivotal role in organizing junior dance competitions and workshops, thereby promoting dance education and collaboration.[14]
Awards of Lee Lee Lan[edit]
Throughout her illustrious career, Lee Lee Lan garnered several awards, attesting to her leadership and contributions to the dance community. Notably, she received the Avon Woman of Distinction Award in 1992 [10] and was honored with the BOH Cameronian Lifetime Achievement Award in 2008.[15] Her dedication to the International Society of Teachers of Dancing (ISTD) [10] was acknowledged through awards presented during the 2017 ISTD awards.
Personal Life[edit]
Lee Lee Lan, the fifth of six children in the Tan family, embraced her Burmese and Chinese heritage. In 1966, she married Lee Kim Tak, an engineer from Kuantan. The couple had two children, Lee Hoong Kee and Lee Pek Kuen, who continued her legacy in their respective fields.
Death and Legacy[edit]
Lee Lee Lan's health declined in her 70s, and she passed away on 16 May 2022, at the age of 77, in her home. Her legacy lives on through her husband, children, grandchildren, and the indelible mark she left on the Malaysian arts scene.
Her passing was mourned by the Malaysian arts community and former students, who expressed gratitude for her impactful contributions.[1]
References[edit]
- ^ a b c d Chandy, Ann Marie (18 May 2022). "Beloved arts pioneer Lee Lee Lan left a long lasting legacy of dance".
- ^ a b c d e f g h i j Gonzales, Joseph (2011). "Unpacking the Postcolonial Contemporary Dance Identity in Malaysia". Sharing Identities: Celebrating Dance in Malaysia. 1 – via Academia.
- ^ "World Dance Alliance–Asia Pacific communicating through dance in our region » Ausdance | Dance Advocacy". Ausdance. June 2008. Retrieved 2022-07-27.
- ^ a b c d e f g h Federal Academy of Ballet, “Astro Profil Seni - Lee Lee Lan 2005.” YouTube, interviewed of Lee Lee Lan by Astro TV Company, 2016, https://www.youtube.com/watch?v=Ea4Pq14-GRo&t=950s
- ^ a b Lim, Alycia (14 June 2009). "Dancing queens". The Star.
- ^ a b Tan, Lee Ling (2022), Younger Sister to Lee Lee Lan.
- ^ a b Ng, Stephanie (9 June 2007). "Heard of Federal Academy of Ballet".
- ^ "Buku Program/Programme Book of Flower Drum Song". My Art Memory Project. 11 September 1968. Retrieved 27 July 2022.
- ^ "Career". Federal Academy of Ballet - Malaysia's most established Ballet School. Retrieved 2022-12-18.
- ^ a b c d Burridge, Stephanie (2020). Sharing Identities: Celebrating Dance in Malaysia. Taylor and Francis.
- ^ Soraya Ballet, choreographed by Lee Lee Lan: (snippets from 14:25–14:55; more footages can be seen from 11:50 onwards) https://www.youtube.com/watch?v=Ea4Pq14-GRo&t=950s
- ^ a b Zubin, Kharleez (4 December 1990). "Creating 'the Malaysian dance'". New Straits Times.
- ^ "Federal Academy of Ballet - Our Founder Lee Lee Lan will be presenting some awards named in her honour at the ISTD awards. | Facebook". www.facebook.com. Retrieved 2022-12-18.
- ^ Malaysia, The Dance Society (12 June 2022). "History".
- ^ Burridge, Stephanie (2020). Sharing Identities: Celebrating Dance in Malaysia. Taylor and Francis.