LEE Chye Ee 李载饴
Vanishing Trades,
Accession Number 000936
- Oral History Centre
Source
- 10
Total Reels
- Chua Sieow Bee & Tan Beng Luan
Interviewer
- 04:55:57
Total Running Time
- Hokkien
Language
Copyright Notice
All rights to the recordings and transcripts on this website, including the rights to copy, publish, broadcast and perform, are reserved. Written permission is required for any use. If you have any queries, please contact nas@nlb.gov.sg
Reel/Disc 1 of 10
Metadata
- 6 Jun 1988
Recording Date
- 00:30:01
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Background of family members. Reasons for his father leaving China. His education. Life as apprentice of Taoist priest in 1930. Reasons for becoming an apprentice under glove puppet master in 1933. Described speciality of master and characteristics of puppetry repertoire. He also learnt musical instruments and carving techniques. Left master's troupe in 1941. How he started own troupe.
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Reel/Disc 2 of 10
Metadata
- 6 Jun 1988
Recording Date
- 00:29:50
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
His performances in China and response from audience. His income. Peak season for glove puppetry. Reasons for coming to Singapore in 1947. Family and children's occupations. Invited to perform in associations and clubs in Malaya. Staged in various places in Singapore. Reasons for continuation in performing glove puppetry after coming to Singapore. Difficulties faced. Things he brought from China.
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Reel/Disc 3 of 10
Metadata
- 6 Jun 1988
Recording Date
- 00:30:29
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Decline of popularity of glove puppetry. Shortage of musicians. Reasons for giving up troupe in 1949. Reasons for re-starting a troupe of Hokkien opera and glove puppetry in 1958; a failure. How he became a Taoist priest. His failure in business. Competition between glove puppet troupes.
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Reel/Disc 6 of 10
Metadata
- 12 Jun 1988
Recording Date
- 00:26:44
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
His social life. Background of audience. Compared fees charged then and now. Peak season for glove puppetry. His troupe was never disturbed by secret societies. Reasons for decline of puppetry. Singing techniques. His views on reform and prospect of puppetry. Succession. Possibility of teaching his skill to others. His wish to take part in puppetry competition in China.
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Reel/Disc 7 of 10
Metadata
- 5 Dec 1988
Recording Date
- 00:30:54
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Detailed description of his understudy of a master puppeteer. Secrecy of skill in profession. Difficulties faced in acquiring skill. Content of his contract with master puppeteer. Adverse effect if one betrayed contract. House work done by apprentice. Allowances given by master.
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Reel/Disc 8 of 10
Metadata
- 5 Dec 1988
Recording Date
- 00:31:23
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
How he was treated as apprentice. Reasons for staying few more years with master after graduation. Reasons for joining other troupes to learn new and more skills. Worked as assistant in other troupes. By showing respect to master puppeteers, they were willing to teach him. His pay. Learnt more martial art skill. How he learnt to master all musical instruments. Voice practices.
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Reel/Disc 9 of 10
Metadata
- 5 Dec 1988
Recording Date
- 00:30:29
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Self-taught in voice projection. How he acquired carving techniques. Followed old designs of puppet heads. Social position of puppeteers in China. He was respected as master puppeteer by community leaders in Penang. His views on decline of audience standard. Reasons for retiring from profession.
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Reel/Disc 10 of 10
Metadata
- 5 Dec 1988
Recording Date
- 00:24:13
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Importance of orchestra. Had high expectation of audience's appreciation of his art. His views on performance for deities. Relationship between opera and deities and arts. His views on opening ceremony prior to performance and reform of puppetry. His initial wish was to train his children as puppeteers and perform in Mandarin.
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