Ontroend Goed push it and some people stop them

Although I left Audience feeling like I’d witnessed something wrong (and many might argue it was wrong) this piece remains so memorable that it has to be in my Edinburgh top five. Never have I seen a performance that so shook up the role and expectations of audience and highlighted the peculiar and potentially damaging relationship between audience and performer. This piece starkly presented ‘our’ lesser human qualities. In a personal way it made me think of my own weaknesses and it created a terror of being exposed. It was not just the camera close-ups or even the rifling through people’s belongings which was more exposing than you’d expect (we did not know this was going to happen). Rather it was the sense that we were in it too, that we were allowing something to take place and if asked to do something - would I find myself doing it?

At first you are really expecting them to snap out of it, you are plainly waiting for the punch line. The screen showing the audience’s faces captures this because many of us are smiling at the beginning, and then the smiles gradually and slowly drop (it's beautiful film footage). For a long time people are half smiling and this is a nervous way of blending in. I was deeply conscious of blending in because I didn’t want to be noticed and I also didn’t want to do something that could be used against me. The boy who slightly smirked during the girls’ ordeal (and smirking is ever such a normal audience reaction) was torn apart for doing that when the performer exposed it to everyone and played it back on the screen. I felt for him. This is a much worse experience to go through than the man who had his spare pair of underpants pulled out of his bag. It is the difference between being the victim and the bully. It is being unconsciously caught up in it, and then publicly condemned for doing so. It mnemonically harks back to footage of political mass hysteria and crowd conformity, pivotal moments in history that we easily assume alienation from...until now.

Photo by Reinhout Hiel, picture of the Audience Publicity Flyer (Ontroend Goed and Remarkable Arts)

Taunting, torturous and extremely upsetting, I would struggle to recommend anyone to see Audience, but on the other hand the experience jolts and provokes a lot of thought about the concept of theatre, of audience and of participation. It is incredibly insightful about human group behaviour and uses the audience to experiment with and undergo that enquiry. It makes you afraid of yourself. In hindsight it is funny to remember the woman who stood up and shouted ‘you bastards’ but there’s something admirable about her frankness. Unfortunately I can’t be totally sure I would always be able to stand up against something that I am conditioned not to stand against. It is easy to use the context of theatre to protect our own involvement or lack of involvement but how far can a performance go before someone intervenes.

Ontroend Goed push it and some people stop them. There are the women who said they would open their legs on behalf of the other woman who didn’t want to, ‘would that be okay' and people actually putting their hands up and asking ‘could we please move on to the next part’? These provoked and challenging audience responses are absolutely part of what the piece disputes. But nobody left. At the end some people clapped and some didn't but nobody left until the very end... Yet we could have.

I decided to put some of the fund towards going to the Edinburgh Fringe Festival. Although primarily recognised for its Theatre and Comedy, and there is no specifically named ‘live art’ section in the brochure - the fringe festival does have a seeping and increasing number of live art based practices and particularly innovative experimental theatre and dance.


Photo of a scottish hat on The Scotsman Steps refurbished by Martin Creed for his Work no. 1059, 2011

I have not been to the fringe festival for five years but have seen the previews of regional artists in the lead up to Edinburgh supported through the East to Edinburgh scheme. I have also seen works that have done well in Edinburgh and then gone on to tour the UK. Going to Edinburgh gave me the chance to spend a week by myself seeking out the performances that I thought would benefit me the most in terms of my own practice. In particular I was looking for experimental theatre/ dance, live art, spoken word and participatory events. I was looking for solo artists, alternative sites and venues, performance which rubs shoulders with stand up and generally new, unconventional, cross-disciplined and surprising work. I was keen to support the regional artists as well as finding new artists from a wider geographical pool! I also wanted to spend time as an audience member with a view to seeing what it would be like to bring a performance here myself in the future.

I saw 19 performances in total and had a thoroughly informative, absorbing and crazy week! To simplify my response to the works that I saw, I have borrowed Curious’ method of evaluating people’s practices by using three words only to describe each work. These words are initial and spontaneous responses to the performances. The twelve listed below are my most memorable:

1. I Malvolio by Tim Crouch 'mocking delectable rant'
2. The Oh Fuck Moment by Hannah Walker and Chris Thorpe 'frank moving human'
3. Dance Marathon by Blue Mouth Inc 'unifying competitive trance'
4. May I have the Pleasure by Adrian Howells 'brave romantic lonely'
5. Audience by Ontroend Goed 'damaging, exhausting, exposing'
6. Anton's Uncles by Theatre Movement Bazarre 'nimble smart slick'
7. Stuck Piece by Caroline Simon 'chatty dreamy lively'
8. How to be a leader by Tim Clare 'comedic exaggerated informal'
9. Swimming with my Mother by Cosceim Dance 'innocent, light, nostalgic'
10. Cutting the Chord by Flying Eye 'Conversational, melancholy, charming'
11. Whistle by Martin Figura 'honest, eloquent, gentle'
12. A conversation with Carmel by Barrowland Dance 'bountiful, joyous, fast'

Edinburgh 2011 Horns

Edinburgh Highlights no. 1

Dance Marathon by Bluemouth Inc was a Unifying, Competitive, Community Trance! This powerful participatory event was a definite highlight of my Edinburgh Fringe experience. The night was young and I queud up with the young, the old, the dancers and the non-dancers, not knowing what to expect. We were each given a numbered bib and registration form. I feel like I am entering a dance competition. Wait, I am. We gather together and walk from the conventional theatre to the streets, a herd of numbered movers. Into a darker building with nightclub lights and big painted footprints on the floor. I can hear a few people breath ‘oh no’ and laugh as they realise our bib numbers match the footsteps and we will be separated from our loved ones! And further more giggles/ concerns when the footprints are closely facing another pair. Inevitable partnering. Actually I quite like that, especially if you’ve come alone and you want to dance – what an easy way to meet people. Perhaps more clubs should try it.


After hearing instructions about what we must do and what we musn’t do (don’t stop moving!) the music starts. We are big participatory crowd in a trance-like condition, buzzing, moving in unpredictable and competitive capacities. We are a community of people, dancers, some of us came prepared with jazz shoes and the like, most just wore flats and some had to change. Finding our footsteps, partnered up with strangers and circling a task master (she was scary) like in a circus ring. It was pretty exhausting and I didn’t have much time to talk to my partner, apart from establishing his name was Chris. In the breaks there was a rush to get to the loos, have a drink, and spray some deodorant. I really liked being offered deodorant by a man with roller skates next to a table of assorted essentials such as hair clips. It felt like a beauty pageant or ballet exam but far more eccentric and fun. Actually it was necessary as I was beginning to sweat and we were still in the first hour.


As the night progressed, more people got eliminated and the concept of this meant that you were literally ‘on your toes’ as the competition heated up. I noticed that everyone was trying really hard to stay in the competition, no-one left or sat at the side – everyone was in it to win it and the floor reverberated with regular feet tapping at all points (never stop moving! Or you’re Out!). It was intriguing how much the crowd followed each other, so eager to be ‘in’ the crowd and therefore avoiding being eliminated. Dance moves seemed to sweep across the room contagiously without knowing who had started them but desperately copying and keeping up! I made it to the last half hour which sounds good but actually most people were still in it at this point. Then came the threat of a mass elimination and you should have seen the ferocity at which we grabbed our partners and moved. We had to circle and avoid getting trapped behind a ‘finishing line’ which would randomly appear by the man in roller skates. Gotcha. Chris and I and 30 plus other couples were out. Out of breath and disappointed, we admitted defeat and sided off – leaving 10 final couples to battle it out in the middle of the floor. At this point a ‘hula’ dance was learnt, more couples eliminated leading to a finale blindfolded go-cart race, making that final couple really earn their position. They did it! Two women, one in her twenties, one about mid-fifties up their on the podium, all smiles. Hooray!

The crowd left pretty quickly afterwards, too tired to hang about chatting and certainly to go on to anywhere else! Having had what felt like a real sharing experience, it was surreal to be walking back alone to my hostel in the dark, having had an experience that felt wildly like a night out – I was tempted to take my shoes off and carry them in my arms – letting my feet ease out on the wet cobbled pavement but I resisted this. I found myself re-affirming what had just happened, I have been dancing for 3 and half hours with a stranger, in a room full of other strangers/ dancers. I have.

Photos taken by me at Dance Marathon in Edinburgh 2011, Dance Marathon leaflet/ publicity material by Bluemouth Inc.

Mentoring with Curious

I asked ‘Curious’ artists Leslie Hill and Helen Paris if they would be able to mentor me as part of this project.

I met Helen and Leslie last year when I participated in an Artists Retreat organised by Colchester Arts Centre. Curious were running the retreat as a chance for eastern region artists to network, discuss, support, collaborate, seek new opportunities and enjoy being in a luxurious hotel!

I found the weekend to be extremely valuable to my practice and was keen to work with Helen and Leslie again. For this project, I was seeking mentoring from a practicing artist that I could have an ongoing dialogue with and who could give my work an outside eye. It was important that at least one of the mentors had some notion of my work beforehand, and the other (Wendy Houstoun) was new to it.

With their experience of mentoring as well as practicing artists producing performance, installation and film, I felt that Curious could offer an informed contribution to this project and looked forward to arranging some mentoring sessions and dialoguing with them over the course of the year. I’m glad that they said ‘Yes’!

Recently I have been working a lot on collaborative work which has been really exciting but I do sometimes allow my solo practice to get bit slapdash and squeezed between other things. The outside eye in particular is something that I feel my solo work lacks. Most of my performances are fairly short and I grapple with the idea of extending them or choosing one to further develop. They are also often site-specific, created for a specific location and in some cases, a specific event. I was keen to talk to Helen and Leslie (who have worked site-specifically) about how to develop a performance beyond its initial purpose. Which piece could I broaden and move to a new site, which piece could work in a theatre venue?

Prior to meeting up, I emailed Helen and Leslie to explain that I was going to show them a ‘Marathon of Mini Performances’ (short ones and snippets from longer ones) in the hope that by showing a number of mini quickfire pieces, they and I will have a clearer idea of what my work is and where it might go?!

We met in Ipswich again, at the same hotel where the retreat had been held the following year. I presented Helen and Leslie with an artist’s statement and a small blurb about each of the pieces they were about to see:

‘Private Joke’
joking and despairing about falling (over, up, down, out, to, behind, again)

PROPS: one pile of clothes including a hat, one bunch of bananas, five separate bananas, one banana skin, a pair of glasses

'Twice Cooked'
Giving and receiving nourishment on the line between caring and over-sugaring. A broad knowledge of biscuit brands, mouth to mouth resuscitation, the quintessentially english tradition of talking to a plant and the more unusual practice of digesting a shoe.

PROPS: a small plant, shoe, dinner plate, napkin, salt and pepper, teapot with tea, apron, sharp knife, meat prod

‘The Eleven Home Stretch’
A spoken out loud list of all my previous addresses. I am recreating memory lane using kitchen tiles and short ambiguous anecdotes.

PROPS: 11 kitchen tiles, bucket of water

‘Conskirtina’
Virtuosic legwork and precise muscle control create a unique serenade for the cafe diner or anyone who wants to tune in. Holly Bodmer is a performance artist that can turn Beethoven on…with her thigh.

PROPS: Big Black Skirt, Children's Casio Keyboard, cd player and cd recording of a failed music exam, Book of Beethoven's Sonatas

In the corner of the room on a table I laid out all the props for each of the performances. Together they looked like a peculiar assortment. To me they are all familiar, well used objects that trigger memories (ones I have worked with before). But it was unusual to have them all next to each other at the same time. Every piece of work I’d done was merged together on the table, yet able to fit quite neatly side by side. Suddenly it didn’t feel like I had done very much at all, and I wondered if the word ‘marathon’ was a tad hopeful.

I was wrong, it felt like a marathon. I performed for three and half hours, briefly stopping between pieces to have a conversation with Helen and Leslie, or asking them to leave the room for 5 minutes while I hid a keyboard under my skirt. Performing in a succession of mini performances and as a race against time only emphasized the slapdash nature, but it was a fun way bringing a lot of ideas to light and sifting the strong bits from the weaker bits. It provided a useful starting point, crafted an energetic level of productivity which continued through our dialogue and enabled me to ‘get a lot of my chest’ so to speak.

I felt able to talk to Helen and Leslie in detail about each of the pieces and it was useful to hear their initial responses at the moment of seeing the work and then at the end in a half hour discussion about my overall practice, where each piece had more of a context to it. As a company made up of two people I was actually being provided with two opinions and two or specifically four outside eyes! Which I appreciate!

Curious gave me a lot of practical tips and professional developmental advice on my overall practice and 'outside eye' feedback on specific performances. I came away with a pageful of notes about what moments worked, what bits to extend, a lot about placing, specific images that were conjured up or memories revealed, bits to wire up, bits to go for it, bits to abandon, silences, overcrowding, eye contact, spit, repetition, music teachers, Englishness, madness, female stand-ups, speaking with an accent, cabaret, and doing a bigger show.

Throat Tickles in Brighton 2

I saw three performances at Brighton's The Basement. These were a double bill It's about Time featuring Drew Taylor's 'Time after Time' and Los Torreznos' '35 minutes'. And later in the evening Matteo Fargion and Jonathan Burrows Cow Piece and Performance Lecture. 1 double bill, 2 double acts, 5 performers and many cows, all hanging out down some stairs.

I'm counting because I loved Los Torreznos' 35 minutes in which Jaime Vallaure and Rafael Lamata counted the 2500 seconds that make up 35 minutes, in 35 minutes. I was captivated by their faces, body, voice, clothing from the moment they amicably walked down the stairs towards us. They had a rhythm in everything they did that was neither over nor underplayed, but it sucked you in and for me anyway, it heightened my awareness of what they were doing.

Presence I think is too vague a word to use but they had something that is difficult to describe, and even more difficult to copy. Never have I been so interested in numbers: you've either got it or you havn't.

Some of the numbers resonated deep from the gut, other simmered on the teeth, the 1033 came out with a dart of spittle. They must have used every muscle and every vocal chord in order to deliver these number lines. By the end they were heavily sweating.

Of course, after ten minutes in of solid counting the audience can comprehend what is going on, we basically know the whole premise for the show. However they still gripped me, really to quite an extent. I was holding my breath at some points, on the edge of my seat at others and there were beautifully unpredictable modes of performing. Quiet periods of comfortable 170s contrasted with the sheer suspense of the early 400s and almost commedia dell'arte like comedowns every decade or so. These shifts continually altered the tone of the performance without affecting the pace - which stuck to consistent seconds one after the other for 35 minutes.

Numbers already follow a set structure which is immensely satisfying. Los Torreznos capture this perfectly (they punctuate the tens) but they also free it. The familiar patterns we recognise are reshaped by delivering them a variety of ways and with the gusto of someone delivering shakespeare lines, a passion for the game and total conviction in what they are doing. So full of expression, their faces looked mouldable like plasticine and yet, they resisted playing characters. It was simple, natural, raw, energetic, exhausting and enduring. A double act that I will certainly look out for again.

Throat Tickles in Brighton 1

Earlier in the year, I went to Brighton to experience a little bit of its annual festival! I was keen to visit The Basement which described as ‘the region’s leading purveyor of innovative and experimental performance’ (The basement) was pretty high on my grabbing horns project’s hit-list of go/see places.

But first stop was an art gallery near the sea front called Fabrica, where Janet Cardiff’s 40-part motet was being exhibited. Fabrica was once a Church however it is described as being ‘unconverted’ and has preserved it’s architectural features. The open exhibition space is visually spectacular as the church was a regency kind (built during the same period as the Brighton Pavilion). It now runs as an art gallery for artists to make new work.

The 40-part motet could be heard faintly as you approach the building. Entering the space, it occupies the church setting very naturally. The ensemble singing voices melodically resonate familiar choir music. It is striking that the singers sound very much like they are in the room, when they are clearly not. My eyes were tricking my ears.

What you see are 40 speakers and what you hear are 40 human voices. They stand in groups of five forming a circle and facing in, engulfing the audience whom come and go but mostly seem to hover in the middle. Like any choir, there are moments of fewer voices: just the females, the males and then a lonely solo. My head turned as I tried to track the speaker who was speaking. They stand at their full height, roughly the same as an adult person and take on a human quality. Symmetrically laid out, all in black, they have showmanship. I felt moved to clap and it’s not because there’s an inevitable spiritual element (due to the site) – rather that it feels live.



At the end when the singing stopped, some audience members got up and I was going to do the same so I could listen to it again from a different part of the building, when suddenly I was sure I heard a Speaker cough. Walking closer to the speaker, I heard it again, a definite tickle in the back of the throat.

It was then that I noticed the background noise was proportionately louder than the number of audience members in the room. There was an additional ambience, quite a number of whispers, coughs, laughter and even pages turning.

I went up to another speaker and heard a male voice saying ‘superb organist’, another one ‘unless there’s a calamity’, a female ‘only half a copy’ another ‘you don’t want your alarm to go off’ and another ‘scariest log-ride in the world’.

It was wonderful to be privy to the kind of chitchat that usually happens out of audience earshot. Then they all took a breath, the singing started again and I found it to be quite breathtaking.

I really enjoyed going to the Barbican to see SPILL festival's double bill of world premieres: 'In endersfield' by KINGS OF ENGLAND and 'I guess if the stage exploded' by Sylvia Rimat.The photos below are of the front and back cover of the little book given to each audience member at the end of ‘in endersfield’. It contains the whole performance text including diagrams of the physical moments and a ‘blank’ section in the middle, where 20 minutes of time covers 18 pages.



In Sylvia Rimat's ‘I guess if the stage exploded’ we were asked to look for some time at Sylvia with her head underneath a lampshade. We then had to think about a piece of furniture in our homes and imagine her there. I imagine her standing on top of a chest of drawers in my landing.

The Pineapple Effect

'a bite of pineapple changes the taste of the next thing you eat'
Karen Christopher

On 16th and 17th April this year I participated in Karen Christopher's Arts Admin weekender workshop titled 'Something from Nothing'. Karen Christopher is a performance deviser based in London and was a member of the long running Chicago based performance group Goat Island. I was interested to find out about the work of Karen Christopher because I participated in a couple of workshops by Goat Island and found their approaches to making work inspiring when I was studying contemporary theatre. They visited Dartington College of Arts a couple of years ago to perform The Lastmaker and accompanied this with a workshop.

One delightful recollection from the workshop was being given a cut out piece of newspaper with a picture of Dracula's jaw, and finding the person who had Dracula's eyes. Prior to this, I came across the group in Scarborough whilst doing my BA. I recall being surprised when they suggested that a performance takes 7 years to make. I often think about the slowness and freedom of taking seven years to make something and whether I would feel empty or satisfied when that process is over?

Karen Christopher's workshop was also centred on aspects of Time. One of the initial exercises involved standing in a circle and taking ten minutes to raise your right arm out, up and round to pat the shoulder of the person in front. It was physically uncomfortable but also somewhat meditative, geared in concentration and an ultra clued up sense of time management. I wanted to touch the person just at the moment when the alarm beeped. Of course, some participants had a far more sassy approach and waited for 9 and a half minutes, bringing their arm up in the last 30 seconds. This quirky differentiation tickled us, and led to a discussion about individual approaches, work methods and the application of rules in creative production.

It was not all about slowness, in contrast there were some impossibly fast-paced collaborative tasks, which were exhilarating once you’d got over the panic. These provided another way of tapping into creativity by having to make spontaneous and radical decisions against a clock count-down. They were as intended ‘crisp actions towards making without initially engaging too much thought’.

‘Never say no to someone’s ideas. Always say yes. Always try something out’ Karen Christopher

Collaboration began to happen with the introduction of small, white, triangular, paper shapes. These fitted together much like the Dracula picture and soon partners and trios were being made. Smaller combinations of people within a larger collaboration kicked off a multi-layered process of accessing, sharing and stealing each other’s work. We reflected on something and then manipulated it, building up layers upon layers of material and pushing our notions of creativity.

We were making our own work and choosing the ‘miraculous moments’ of other group’s works. I stole Kirsty’s ‘pa pa pa pa pom a pom a pom a dom a dom’ line of singing as I felt this bit was both miraculous and also kind of momentous.

I had not received the email about bringing in a personal object to work with, and so I had to pull something out of the rucksack. I was staying at a friend’s flat in Elephant Castle and I had her key on me which was attached to a small wooden elephant with the carved lettering FRANNY. I used this. Because it was quite small I showed it to people one by one. I also tried to prop it up on the floor and it kept falling, so I repeated this action until it finally stood up. FRANNY seemed to take off quite well and somebody even claimed that they ‘love Franny’ which pleased me because I love Franny too but nobody else there knew who she was.

On the second day, we talked about the importance of sequence and how to decide what to say first when you give someone an instruction. I loved Karen Christopher’s false starts. She starts to say something and suddenly stops mid-way, claiming ‘no perhaps I should say this later’ which has an effect of toying with us a little bit!

This happened a few times and I found it quite funny. It seemed as if she was acutely aware of what was to come next and you could almost see her thought processes working out how to give us the best possible sequencing of events/ dialogue! When making a performance, I spend time re-working the structure for that exact same reason. I think ‘No this can’t come now! Because it will ruin the brilliant surprise later on!’ or ‘this will bit will change how the audience takes on the next bit’. Karen allegorises sequencing in this way as tasting pineapple because it ‘changes the taste of the next thing’.

The order of things puts pressure on the content and how an audience reads that information. Attention to rhythm and patterned structures can create suspension which in turn causes pressure to build up. Karen Christopher talked about having an awareness of musical structures when putting together material to perform. The art of composition is both performance making and musicality.

Goat Island used musical canons in quite complicated ways, performing a physical sequence that is offset with an echoe. Karen played us two pieces of music which highlight her claim that ‘patterns are very consoling’ and are also ‘very human’. (Madame presse died today at 90 by Morton Feldman)

‘I can’t believe I put the walk on the day of the London marathon’
Karen Christopher

We went for a 90 minute walk through brick lane and did not talk to each other at all during that time. We were looking for things, noticing the unnoticeable. I spotted some Doubles and then started looking for more. There was a family of picture frames, twin extractor fans, somebody’s pin striped trouser legs, double yellow lines, and a repeated pattern of club shapes on a bright red window shutter. Here is a photo I took walking past a window close to the toynbee studios. Two red flowers doubling up to frame a water sprayer in a rather threatening pose.

This walk enabled me to take on board what had happened throughout the workshop as well as collect new material - without too much pressure to do either. By not talking to each other, I was able to focus on what I wanted to look for, but I was equally open to being distracted by the things I noticed. I could quite easily get lost but still feel on track. It is something I have adopted since - getting out of the studio, walking, and arriving back with a heightened sense of alertness and observation.

For me, the workshop’s activities all threw up similar ideas, frustrations and agendas that I experience in creating performance work. It was very useful to explore these in a collaborative way with people that I had not worked with before. It was also useful to set these tasks against a continually changing pace of production. It varied from against the clock, high-powered pressure to a leisurely walk and time for reflection. It made me feel like being dipped in hot water and then cold water, feeling the pain of each but also the relief from one to the other. It was valuable to witness the different material being produced from these changing paces and changing working methods.

Although panning across two days, the workshop was intended to be a ‘swift journey through the first steps of ideas and realisation’ and it certainly managed to produce ‘something from nothing’ in fact, an eclectic array of ideas and the beginnings of performance works. I felt privileged to be working with such a sense of doing and not to be tied up with the sense of responsibility I get trapped in with my own work; we were encouraged to ‘switch off the inner critic’ and this felt good.

here we go...

Welcome to Grabbing Live Art by the Horns! This blog is about my current research and development project continuing all year until April 2012. I am being supported by Escalator Performance Arts (initiative for eastern region artists run by The Junction and Colchester Arts Centre) in receiving funding by Arts Council England. The funding is going towards receiving mentoring from two professional performance makers/ companies as well as 'go and see' activities such as performances, festivals, workshops (many of which take place further afield than Norwich). It is all in the name of grabbing live art by the horns - seeing, participating, networking, receiving an outside eye and generally soaking up what is around me to inform and further establish my own performance practice.

My objective is to utilize this grant to develop my emergence as a live artist in the eastern region and beyond. As a result of these activities, this year will be spent researching other work that is being made as well as undergoing critical development of my own work (in dialogue with and supported by other practitioners).

I am kindly being supported by Stuart Hobday, director of Norwich Arts Centre who has offered me time and space to rehearse at the centre, and Anthony Roberts, director of Colchester Arts Centre who is assisting me and monitoring the progress of the project as it evolves. In order to evaluate the process I have set up this blog and, with the help of web editor and media specialist Rebecca Wigmore - am all set to better my professional online presence with this and future projects.

Mentoring from professional practitioners begins in July (further details will be posted soon) and I have spent the past month and half beginning to tap into the 'go/see!' part of the project. Spring was a great season to start as there is so much performance and arts events going on at this time of the year. I am eager to explain what I have been up to so far but I am going to write one post per activity - so keep following to keep posted!