 I'm Mark Atkins. I'm from Australia. I'm a did-you-do player. Both drummer, guitar, singer, songwriter and storyteller. My background is from my mother's people. Yamaji, one guy at Whitty, and from my father's, Arish. I've been here before, but it's forever changing like any city, I suppose. I love Singapore, I love the food, I love the people. His buildings are getting bigger all the time and they're changing. But, yeah, I'm enjoying my time here. Yeah, at a very early age, I mean, my first instrument was piano. And then I went to guitar, and then in my teens I went to drumming, drums. Playing rock and roll bands in the 70s and that through the 80s. And then I ended up going home because I had to. But my uncle, who was a traditional songman and did-you-do player. And that was sort of the beginning of my career as a musician and as a player and touring. So, that's basically where that started. Well, how they played, how they made is circular or cycle-breathing. They made a wood and naturally they hollowed out by termites. This one I got from a place called Corander up in Northern Queensland. I ended up buying it in a did-you-do shop in Amsterdam. And I was on tour in Europe, so I did the tour of that and then took it back home and refined it when I say that, shaping it and taking a little bit more out of the end of it. Termites will make the hole, will hollow it out and they eat up through the centre of it. And special tools for honing the end out and that sort of thing. But yeah, so I did a bit of work on it, got it to where I want it. And it's been with me 30 odd years now. When I wasn't working, I was teaching. Did you do? Because a lot of the young players that coming through wanted to learn. I've got about just over a thousand students when I teach kids and adults. But more so the kids than that. That sort of started to happen a lot more because I wasn't touring because of the big sea or Covid. So yeah, I ended up doing a lot more teaching and ended up working as a youth better and just doing that teaching, you know, the play. Some more than others, I suppose, through South America and, you know, Columbia and Paris, Vienna, all over the place. And orchestras, just a band on the corner, all over the place with different genres in that as well. So I'd have to say yes. They like it. Some of them have never seen it or heard it. And funny enough, it does make it more acceptable when they see and hear it played with a traditional instrument that comes from their part of the country. And it makes it that much more acceptable, so to speak. What do I enjoy about sharing my music? That's not Australia. Well, I suppose it's the look you get sometimes. It's, what's that? You know, you get up and start playing it. And then what's happened is you're meeting other musicians too. You get to hear and listen to their traditional instruments and we end up playing. You know, like, for me, like, what I'd seen, when you're doing, like, world music, if you like, you know, did you do being the oldest instrument there? Yeah, it was the last one to come in and join the rest of the instruments. So, and that was a journey too, just composing and working with them and people just thinking, wow, you know, like, I love the sound of that. And that's what got me started in the first place, was the sound. I dreamt I had more time with you. I dreamt I had more time with you.