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ਜਪੁ | Jup
ਸੋ ਦਰੁ | So Dar
ਸੋਹਿਲਾ | Sohilaa
ਰਾਗੁ ਸਿਰੀਰਾਗੁ | Raag Siree-Raag
Gurbani (14-53)
Ashtpadiyan (53-71)
Gurbani (71-74)
Pahre (74-78)
Chhant (78-81)
Vanjara (81-82)
Vaar Siri Raag (83-91)
Bhagat Bani (91-93)
ਰਾਗੁ ਮਾਝ | Raag Maajh
Gurbani (94-109)
Ashtpadi (109)
Ashtpadiyan (110-129)
Ashtpadi (129-130)
Ashtpadiyan (130-133)
Bara Maha (133-136)
Din Raen (136-137)
Vaar Maajh Ki (137-150)
ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
Ashtpadiyan (220-234)
Karhalei (234-235)
Ashtpadiyan (235-242)
Chhant (242-249)
Baavan Akhari (250-262)
Sukhmani (262-296)
Thittee (296-300)
Gauree kii Vaar (300-323)
Gurbani (323-330)
Ashtpadiyan (330-340)
Baavan Akhari (340-343)
Thintteen (343-344)
Vaar Kabir (344-345)
Bhagat Bani (345-346)
ਰਾਗੁ ਆਸਾ | Raag Aasaa
Gurbani (347-348)
Chaupaday (348-364)
Panchpadde (364-365)
Kaafee (365-409)
Aasaavaree (409-411)
Ashtpadiyan (411-432)
Patee (432-435)
Chhant (435-462)
Vaar Aasaa (462-475)
Bhagat Bani (475-488)
ਰਾਗੁ ਗੂਜਰੀ | Raag Goojaree
Gurbani (489-503)
Ashtpadiyan (503-508)
Vaar Gujari (508-517)
Vaar Gujari (517-526)
ਰਾਗੁ ਦੇਵਗੰਧਾਰੀ | Raag Dayv-Gandhaaree
Gurbani (527-536)
ਰਾਗੁ ਬਿਹਾਗੜਾ | Raag Bihaagraa
Gurbani (537-556)
Chhant (538-548)
Vaar Bihaagraa (548-556)
ਰਾਗੁ ਵਡਹੰਸ | Raag Wadhans
Gurbani (557-564)
Ashtpadiyan (564-565)
Chhant (565-575)
Ghoriaan (575-578)
Alaahaniiaa (578-582)
Vaar Wadhans (582-594)
ਰਾਗੁ ਸੋਰਠਿ | Raag Sorath
Gurbani (595-634)
Asatpadhiya (634-642)
Vaar Sorath (642-659)
ਰਾਗੁ ਧਨਾਸਰੀ | Raag Dhanasaree
Gurbani (660-685)
Astpadhiya (685-687)
Chhant (687-691)
Bhagat Bani (691-695)
ਰਾਗੁ ਜੈਤਸਰੀ | Raag Jaitsree
Gurbani (696-703)
Chhant (703-705)
Vaar Jaitsaree (705-710)
Bhagat Bani (710)
ਰਾਗੁ ਟੋਡੀ | Raag Todee
ਰਾਗੁ ਬੈਰਾੜੀ | Raag Bairaaree
ਰਾਗੁ ਤਿਲੰਗ | Raag Tilang
Gurbani (721-727)
Bhagat Bani (727)
ਰਾਗੁ ਸੂਹੀ | Raag Suhi
Gurbani (728-750)
Ashtpadiyan (750-761)
Kaafee (761-762)
Suchajee (762)
Gunvantee (763)
Chhant (763-785)
Vaar Soohee (785-792)
Bhagat Bani (792-794)
ਰਾਗੁ ਬਿਲਾਵਲੁ | Raag Bilaaval
Gurbani (795-831)
Ashtpadiyan (831-838)
Thitteen (838-840)
Vaar Sat (841-843)
Chhant (843-848)
Vaar Bilaaval (849-855)
Bhagat Bani (855-858)
ਰਾਗੁ ਗੋਂਡ | Raag Gond
Gurbani (859-869)
Ashtpadiyan (869)
Bhagat Bani (870-875)
ਰਾਗੁ ਰਾਮਕਲੀ | Raag Ramkalee
Ashtpadiyan (902-916)
Gurbani (876-902)
Anand (917-922)
Sadd (923-924)
Chhant (924-929)
Dakhnee (929-938)
Sidh Gosat (938-946)
Vaar Ramkalee (947-968)
ਰਾਗੁ ਨਟ ਨਾਰਾਇਨ | Raag Nat Narayan
Gurbani (975-980)
Ashtpadiyan (980-983)
ਰਾਗੁ ਮਾਲੀ ਗਉੜਾ | Raag Maalee Gauraa
Gurbani (984-988)
Bhagat Bani (988)
ਰਾਗੁ ਮਾਰੂ | Raag Maaroo
Gurbani (889-1008)
Ashtpadiyan (1008-1014)
Kaafee (1014-1016)
Ashtpadiyan (1016-1019)
Anjulian (1019-1020)
Solhe (1020-1033)
Dakhni (1033-1043)
ਰਾਗੁ ਤੁਖਾਰੀ | Raag Tukhaari
Bara Maha (1107-1110)
Chhant (1110-1117)
ਰਾਗੁ ਕੇਦਾਰਾ | Raag Kedara
Gurbani (1118-1123)
Bhagat Bani (1123-1124)
ਰਾਗੁ ਭੈਰਉ | Raag Bhairo
Gurbani (1125-1152)
Partaal (1153)
Ashtpadiyan (1153-1167)
ਰਾਗੁ ਬਸੰਤੁ | Raag Basant
Gurbani (1168-1187)
Ashtpadiyan (1187-1193)
Vaar Basant (1193-1196)
ਰਾਗੁ ਸਾਰਗ | Raag Saarag
Gurbani (1197-1200)
Partaal (1200-1231)
Ashtpadiyan (1232-1236)
Chhant (1236-1237)
Vaar Saarang (1237-1253)
ਰਾਗੁ ਮਲਾਰ | Raag Malaar
Gurbani (1254-1293)
Partaal (1265-1273)
Ashtpadiyan (1273-1278)
Chhant (1278)
Vaar Malaar (1278-91)
Bhagat Bani (1292-93)
ਰਾਗੁ ਕਾਨੜਾ | Raag Kaanraa
Gurbani (1294-96)
Partaal (1296-1318)
Ashtpadiyan (1308-1312)
Chhant (1312)
Vaar Kaanraa
Bhagat Bani (1318)
ਰਾਗੁ ਕਲਿਆਨ | Raag Kalyaan
Gurbani (1319-23)
Ashtpadiyan (1323-26)
ਰਾਗੁ ਪ੍ਰਭਾਤੀ | Raag Prabhaatee
Gurbani (1327-1341)
Ashtpadiyan (1342-51)
ਰਾਗੁ ਜੈਜਾਵੰਤੀ | Raag Jaijaiwanti
Gurbani (1352-53)
Salok | Gatha | Phunahe | Chaubole | Swayiye
Sehskritee Mahala 1
Sehskritee Mahala 5
Gaathaa Mahala 5
Phunhay Mahala 5
Chaubolae Mahala 5
Shaloks Bhagat Kabir
Shaloks Sheikh Farid
Swaiyyae Mahala 5
Swaiyyae in Praise of Gurus
Shaloks in Addition To Vaars
Shalok Ninth Mehl
Mundavanee Mehl 5
ਰਾਗ ਮਾਲਾ, Raag Maalaa
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<blockquote data-quote="Vikram singh" data-source="post: 119709" data-attributes="member: 1078"><p><span style="color: #000080"><span style="font-family: 'Arial'"><em>Rabab researcher and Australian convert to Sikhism, Chris Mooney Singh, has discovered the poet in him. He will be in India this week at the invitation of the National Sahitya Akademy and would be part of a poetry performance session -a unique art which he has mastered in Singapore and is determined to spread it worldwide. Since the last many years, Singapore has seen umpteen competitions of the learners and the competent in this field. Chris will be spending a few days in Delhi and Chandigarh meeting friends and well-wishers and once again igniting the still dormant field of Rabab research and recital. </em></span></span></p><p><span style="color: #000080"><span style="font-family: 'Arial'"><em></em></span></span></p><p></p><p> <span style="font-family: 'Arial'">When you see Chris Mooney Singh, it would be hard for you to slot him the way we are used to slot people in the hierarchy of identities. Perhaps you also wouldn’t know how best to describe the man.</span><span style="font-family: 'Arial'"></span></p><p><span style="font-family: 'Arial'"></span></p><p><span style="font-family: 'Arial'">But not to worry on this count. Chris himself has done this job brilliantly in one of his poems, A Council Flat in Leicester. So, listen on.</span></p><p></p><p> <span style="font-family: 'Arial'">In that poem, Chris talks about his appearance of being a ‘turbaned, bearded–yet a white-skinned sahib’ which startles an ‘earth-brown skinned Punjabi fellow.</span></p><p></p><p> <span style="font-family: 'Arial'">“A beard, a turban, and a white skin brings some kind of a novelty value for some,” Chris says self-mockingly. Truth be told, I too was startled to see him first but that was a in a literary reading. For this interview, we meet Chris in Earshot cafe in the Arts House. “Once I walked into a crowded market in Adelaide and I was surprised how people parted ways for me,” he tells us over the din of screeching chairs and clinking china.</span></p><p></p><p> <span style="font-family: 'Arial'">He then goes into the history of turbans–how turbans have always stood to indicate rank and class and commanded respect, how in the Mughal times, wearing a turban was a sign of class and how Guru Gobind Singh threw a challenge to the powers that be by making it mandatory for all Sikhs to wear turbans, proclaiming that people with low caste or no caste could also wear turbans.</span></p><p></p><p> <span style="font-family: 'Arial'">So, you see, this is how Chris speaks. You scratch him and gushes forth the knowledge, passionate observations and articulations of an erudite mind, affording you moments of epiphany as you move deeper into the discussion with him.</span></p><p></p><p> <strong><span style="font-family: 'Arial'">Eastern Promises</span></strong></p><p></p><p> <span style="font-family: 'Arial'">Of Australian-Irish descent, Chris was born in 1956. He had a typical middle class childhood. His parents were not religious at all. But he had been reading books on mysticism from an early age and that had some influence on him. That love for mysticism led him to the Sikh faith when he went to Indian as a young man to indulge in arts journalism.</span></p><p></p><p> <span style="font-family: 'Arial'">Chris was practicing meditation in Australia for almost 15 years. But he was not satisfied. There were questions, a quest, and a thirst to quench. “I wanted to have some deeper experience, with people of some spiritual stature,” he says. Off he went to </span><span style="font-family: 'Arial'">India</span><span style="font-family: 'Arial'">. He stayed in Delhi, in a Punjabi neighborhood.</span></p><p></p><p> <span style="font-family: 'Arial'">Once in India, a Western-educated Chris found poetry as an art form in the Eastern traditions. In the Sikh faith, he saw poetry, music and spiritualism all coming together and that resonated well with him. “I connected with the eastern traditions from an artistic point of view, not from a religious point of view,” he says.</span></p><p></p><p> <span style="font-family: 'Arial'">But this spiritual change muscled into his poetic sensibilities. “Embracing a new faith brought in an inward sort of a change in me,” he says reflectively.</span></p><p></p><p> <span style="font-family: 'Arial'">Mysticism and poetry engaged Chris’ mind from early on. He got interested in poetry while he was still in primary school. During the composition classes, he says, he was more interested in the language, in the atmospherics, in the micro-moments of the story than in the story itself. “One thing that poetry does is it looks at the mirco-moments and so, I was inwardly always poetry driven,” he says. The early interest in poetry sprouted into a deeper passion. Later on, he got to understand more about writing, about narratives, as he formally studied journalism.</span></p><p></p><p> <span style="font-family: 'Arial'">But his poetry quintessentially contains a specific flavour—the flavour of narrative. “Even when I write poems, if you look at my collection, I have a narrative element in it,” he says. “I think I have a cross over, sort of a poet inside a storyteller and a storyteller inside a poet.”</span></p><p></p><p> <strong><span style="font-family: 'Arial'">In search of the rabab</span></strong></p><p></p><p> <span style="font-family: 'Arial'">Kirtan, a form of poetry, fascinated Chris. As he delved deeper into Sikhism and its art form, he realized that there were instruments of the Sikh faith that had been lost. “I call the harmonium the magarmach (crocodile) of Indian music or the African killer bee of Indian music,” he says, referring to how it has killed off ancient musical instruments like the rubab and Saranda.</span></p><p></p><p> <span style="font-family: 'Arial'">“In Guru Nanak’s time, his companion played the rubab,” he says. “I went looking for that instrument and it took me a decade to uncover it.”</span></p><p></p><p> <span style="font-family: 'Arial'">From Himachal Pradesh, he started to make rubab and saranda and took the craft to some villages in Punjab where the youth were trained to make such instruments.</span></p><p> <span style="font-family: 'Arial'">Who would have imagined that it would take an Australian young man to revive the community’s interest in the ancient musical instruments of the Sikh faith?</span></p><p></p><p> <strong><span style="font-family: 'Arial'">Turning point</span></strong></p><p></p><p> <span style="font-family: 'Arial'">It was only in India where he tragically lost his first wife. His wife literally died in a taxi in India. He puts that experience, from his wife’s last breath to the rites of her funeral, in the initial part of his anthology, The Laughing Buddha Cab Company. The second section of the book is about taxis in </span><span style="font-family: 'Arial'">Singapore</span><span style="font-family: 'Arial'">. “Both signified to me as vehicles of transportation, from place to place, a journey of life,” he says.</span></p><p></p><p> <span style="font-family: 'Arial'">After his first wife’s death, Chris came to </span><span style="font-family: 'Arial'">Singapore</span><span style="font-family: 'Arial'"> and settled here. After spending more than a decade in India, Singapore offered him a different experience, and posed a challenge to his muse.</span></p><p></p><p> <span style="font-family: 'Arial'">“India was an immediate connection with me,” he says. “Coming from a meditation background, I was inwardly attuned to that culture. I stayed in all kind of dwellings in India, the experience was very wide. I saw tragedy. I experienced life in all its nakedness. In Singapore, though it is comfortable and everything works–lights, buses, taxis—the electricity is always there, the buses are not very far and taxis are frequent and available but somehow it also insulates you from that naked raw reality of life.”</span></p><p> <span style="font-family: 'Arial'">Singapore’s urban jungle, in his eyes, also affects a writer’s sensibilities. “Poets and writers here audit their thoughts for public so I though I had to develop a different sort of skin here,” he says. “I like the Asian society but I needed to find another way to look at it. I realized that I took a lot of cabs and that sort of provided me with a way to look at life in </span><span style="font-family: 'Arial'">Singapore</span><span style="font-family: 'Arial'">.”</span></p><p></p><p> <span style="font-family: 'Arial'">That’s how he began to think of writing poems on cabs, and The Laughing Buddha Cab Company came into being. This is not Chris’ first collection though. “I have a few collections earlier–one was a collection published in Australia in 1989, then I put out a chapbook in </span><span style="font-family: 'Arial'">Singapore</span><span style="font-family: 'Arial'"> in 2003 but it was really a privately distributed thing,” he says. “This is my long overdue collection.” In addition, Chris co-edited a poetry anthology, The Penguin Book of Christmas Poems, and has three spoken word CDs to his credit, the latest being ‘Living in the Land of the Durian Eaters’.</span></p><p></p><p> <strong><span style="font-family: 'Arial'">Singapore</span><span style="font-family: 'Arial'"> soirees</span></strong></p><p></p><p> <span style="font-family: 'Arial'">Meanwhile, Chris became restless with the prevalent literary culture in Singapore. “After settling back from India in 2002, I saw events where poets were there for poets,” he says. He wanted to bring literature and poetry out of the closed doors to public venues.</span></p><p></p><p> <span style="font-family: 'Arial'">“I went to America in 2003 to a writers’ festival and saw the poetry slam and took it as a model for Singapore,” Chris says. “In Singapore, we have this kopitiam culture and I tried to marry poetry with that culture,” he says on his idea of the poetry slams. “Poets should meet with a non-poet audience and hold their interest. That’s the challenge of poetry slam.”</span></p><p></p><p> <span style="font-family: 'Arial'">Since 2003, he has been a full-time organizer of literary events, writing groups and, of course, the Poetry Slam in </span><span style="font-family: 'Arial'">Singapore</span><span style="font-family: 'Arial'">. All these activities, including the Writers’ Connect programme for emerging and established writers, are held under the aegis of Word Forward.</span></p><p></p><p> <span style="font-family: 'Arial'">Chris, with his life partner Savinder, have proved that a life committed to arts and literature can be built around here in Singapore. Now they are going beyond Singapore, exploring new horizons</span></p></blockquote><p></p>
[QUOTE="Vikram singh, post: 119709, member: 1078"] [COLOR=#000080][FONT=Arial][I]Rabab researcher and Australian convert to Sikhism, Chris Mooney Singh, has discovered the poet in him. He will be in India this week at the invitation of the National Sahitya Akademy and would be part of a poetry performance session -a unique art which he has mastered in Singapore and is determined to spread it worldwide. Since the last many years, Singapore has seen umpteen competitions of the learners and the competent in this field. Chris will be spending a few days in Delhi and Chandigarh meeting friends and well-wishers and once again igniting the still dormant field of Rabab research and recital. [/I][/FONT][/COLOR] [FONT=Arial]When you see Chris Mooney Singh, it would be hard for you to slot him the way we are used to slot people in the hierarchy of identities. Perhaps you also wouldn’t know how best to describe the man.[/FONT][FONT=Arial] But not to worry on this count. Chris himself has done this job brilliantly in one of his poems, A Council Flat in Leicester. So, listen on.[/FONT] [FONT=Arial]In that poem, Chris talks about his appearance of being a ‘turbaned, bearded–yet a white-skinned sahib’ which startles an ‘earth-brown skinned Punjabi fellow.[/FONT] [FONT=Arial]“A beard, a turban, and a white skin brings some kind of a novelty value for some,” Chris says self-mockingly. Truth be told, I too was startled to see him first but that was a in a literary reading. For this interview, we meet Chris in Earshot cafe in the Arts House. “Once I walked into a crowded market in Adelaide and I was surprised how people parted ways for me,” he tells us over the din of screeching chairs and clinking china.[/FONT] [FONT=Arial]He then goes into the history of turbans–how turbans have always stood to indicate rank and class and commanded respect, how in the Mughal times, wearing a turban was a sign of class and how Guru Gobind Singh threw a challenge to the powers that be by making it mandatory for all Sikhs to wear turbans, proclaiming that people with low caste or no caste could also wear turbans.[/FONT] [FONT=Arial]So, you see, this is how Chris speaks. You scratch him and gushes forth the knowledge, passionate observations and articulations of an erudite mind, affording you moments of epiphany as you move deeper into the discussion with him.[/FONT] [B][FONT=Arial]Eastern Promises[/FONT][/B] [FONT=Arial]Of Australian-Irish descent, Chris was born in 1956. He had a typical middle class childhood. His parents were not religious at all. But he had been reading books on mysticism from an early age and that had some influence on him. That love for mysticism led him to the Sikh faith when he went to Indian as a young man to indulge in arts journalism.[/FONT] [FONT=Arial]Chris was practicing meditation in Australia for almost 15 years. But he was not satisfied. There were questions, a quest, and a thirst to quench. “I wanted to have some deeper experience, with people of some spiritual stature,” he says. Off he went to [/FONT][FONT=Arial]India[/FONT][FONT=Arial]. He stayed in Delhi, in a Punjabi neighborhood.[/FONT] [FONT=Arial]Once in India, a Western-educated Chris found poetry as an art form in the Eastern traditions. In the Sikh faith, he saw poetry, music and spiritualism all coming together and that resonated well with him. “I connected with the eastern traditions from an artistic point of view, not from a religious point of view,” he says.[/FONT] [FONT=Arial]But this spiritual change muscled into his poetic sensibilities. “Embracing a new faith brought in an inward sort of a change in me,” he says reflectively.[/FONT] [FONT=Arial]Mysticism and poetry engaged Chris’ mind from early on. He got interested in poetry while he was still in primary school. During the composition classes, he says, he was more interested in the language, in the atmospherics, in the micro-moments of the story than in the story itself. “One thing that poetry does is it looks at the mirco-moments and so, I was inwardly always poetry driven,” he says. The early interest in poetry sprouted into a deeper passion. Later on, he got to understand more about writing, about narratives, as he formally studied journalism.[/FONT] [FONT=Arial]But his poetry quintessentially contains a specific flavour—the flavour of narrative. “Even when I write poems, if you look at my collection, I have a narrative element in it,” he says. “I think I have a cross over, sort of a poet inside a storyteller and a storyteller inside a poet.”[/FONT] [B][FONT=Arial]In search of the rabab[/FONT][/B] [FONT=Arial]Kirtan, a form of poetry, fascinated Chris. As he delved deeper into Sikhism and its art form, he realized that there were instruments of the Sikh faith that had been lost. “I call the harmonium the magarmach (crocodile) of Indian music or the African killer bee of Indian music,” he says, referring to how it has killed off ancient musical instruments like the rubab and Saranda.[/FONT] [FONT=Arial]“In Guru Nanak’s time, his companion played the rubab,” he says. “I went looking for that instrument and it took me a decade to uncover it.”[/FONT] [FONT=Arial]From Himachal Pradesh, he started to make rubab and saranda and took the craft to some villages in Punjab where the youth were trained to make such instruments.[/FONT] [FONT=Arial]Who would have imagined that it would take an Australian young man to revive the community’s interest in the ancient musical instruments of the Sikh faith?[/FONT] [B][FONT=Arial]Turning point[/FONT][/B] [FONT=Arial]It was only in India where he tragically lost his first wife. His wife literally died in a taxi in India. He puts that experience, from his wife’s last breath to the rites of her funeral, in the initial part of his anthology, The Laughing Buddha Cab Company. The second section of the book is about taxis in [/FONT][FONT=Arial]Singapore[/FONT][FONT=Arial]. “Both signified to me as vehicles of transportation, from place to place, a journey of life,” he says.[/FONT] [FONT=Arial]After his first wife’s death, Chris came to [/FONT][FONT=Arial]Singapore[/FONT][FONT=Arial] and settled here. After spending more than a decade in India, Singapore offered him a different experience, and posed a challenge to his muse.[/FONT] [FONT=Arial]“India was an immediate connection with me,” he says. “Coming from a meditation background, I was inwardly attuned to that culture. I stayed in all kind of dwellings in India, the experience was very wide. I saw tragedy. I experienced life in all its nakedness. In Singapore, though it is comfortable and everything works–lights, buses, taxis—the electricity is always there, the buses are not very far and taxis are frequent and available but somehow it also insulates you from that naked raw reality of life.”[/FONT] [FONT=Arial]Singapore’s urban jungle, in his eyes, also affects a writer’s sensibilities. “Poets and writers here audit their thoughts for public so I though I had to develop a different sort of skin here,” he says. “I like the Asian society but I needed to find another way to look at it. I realized that I took a lot of cabs and that sort of provided me with a way to look at life in [/FONT][FONT=Arial]Singapore[/FONT][FONT=Arial].”[/FONT] [FONT=Arial]That’s how he began to think of writing poems on cabs, and The Laughing Buddha Cab Company came into being. This is not Chris’ first collection though. “I have a few collections earlier–one was a collection published in Australia in 1989, then I put out a chapbook in [/FONT][FONT=Arial]Singapore[/FONT][FONT=Arial] in 2003 but it was really a privately distributed thing,” he says. “This is my long overdue collection.” In addition, Chris co-edited a poetry anthology, The Penguin Book of Christmas Poems, and has three spoken word CDs to his credit, the latest being ‘Living in the Land of the Durian Eaters’.[/FONT] [B][FONT=Arial]Singapore[/FONT][FONT=Arial] soirees[/FONT][/B] [FONT=Arial]Meanwhile, Chris became restless with the prevalent literary culture in Singapore. “After settling back from India in 2002, I saw events where poets were there for poets,” he says. He wanted to bring literature and poetry out of the closed doors to public venues.[/FONT] [FONT=Arial]“I went to America in 2003 to a writers’ festival and saw the poetry slam and took it as a model for Singapore,” Chris says. “In Singapore, we have this kopitiam culture and I tried to marry poetry with that culture,” he says on his idea of the poetry slams. “Poets should meet with a non-poet audience and hold their interest. That’s the challenge of poetry slam.”[/FONT] [FONT=Arial]Since 2003, he has been a full-time organizer of literary events, writing groups and, of course, the Poetry Slam in [/FONT][FONT=Arial]Singapore[/FONT][FONT=Arial]. All these activities, including the Writers’ Connect programme for emerging and established writers, are held under the aegis of Word Forward.[/FONT] [FONT=Arial]Chris, with his life partner Savinder, have proved that a life committed to arts and literature can be built around here in Singapore. Now they are going beyond Singapore, exploring new horizons[/FONT] [/QUOTE]
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