Lee Su-Feh (she/they) is a performance maker, educator and writer who has spent the last 40 years exploring the human body as a site of intersecting habits and histories.

Born and raised in Malaysia, she was indelibly marked by teachers who strove to find a contemporary Asian expression out of the remnants of colonialism and dislocated traditions. Her early training began in Teater Kanak-kanak with Janet Pillai, followed by dance and dancing with Marion D’Cruz, and endless conversations with the late theatre critic and director, Krishen Jit. The environments of the Temple of Fine Arts and Kompleks Budaya Negara also left deep impressions.

Since leaving Malaysia in 1985 for Paris, France; and later, Canada, she has been influenced by teachers such as Lari Leong, Peter Bingham, Linda Putnam, Amelia Itcush and Catherine Fitzmaurice; and by artistic encounters and collaborations with David McIntosh, Benoît Lachambre, Zab Maboungou, Justine A Chambers among others. Alongside this trajectory in performance-making, she has pursued a lifelong study and practice of Chinese martial arts, Qigong and Daoism. She has studied Yang Taiji, Wu Taiji, Chen Taiji, Baguazhang and Xingyiquan with Xu Gong Wei; and Baguazhang with Yang Guo Tai. Since 2010, she has been a student and practitioner of Fitzmaurice Voicework® and is currently a certified Lead Trainer of the work. She is a member of the Advisory Group of the Fitzmaurice Institute and participates actively in the international community of Fitzmaurice Voicework teachers.

Lee Su-Feh is grateful to live and work on Musqueam, Squamish, Tsleil-waututh Territories, colonially known as Vancouver, Canada. She is supported by the Canada Council for the Arts, the British Columbia Arts Council, The Province of British Columbia and the City of Vancouver through the non-profit structure of battery opera performing arts society, of which she is Artistic Director.

For an archive of works produced by battery opera, go here.