You all know we SUPER LOVE local arts and the geniuses who create them, but what we love even more is when local works and their owners travel interstate or overseas to give the rest of the world a taste from Brisbane of what they are really missing!

Ron Seeto is one such artist who we're proud to have as a Brisbanite as he takes his dance/fight choreography work inter/nality from it's cosy beginnings at La Boite's Scratch Works 2011 to the upcoming Melbourne Fringe Festival (26 September - 14 October).

Having seen this fluid work in it's early beginnings I can definitely say Melbourne and it's fringey friends are mighty lucky to have the chance to see a revival of this movement piece. We inter/faced with 'rippling-abs' Ron Seeto,  to discuss his upcoming trip to beautiful Melbourne...  


23 / Brisbane / Performance Artist

Five words to describe inter/nality?

Introspective, journey, struggle, metaphor and power

What inspired you to develop this piece? 

I had a very diverse 2011 in regards to performance; I actually studied drama at QUT but as soon as I finished that degree I somehow fell (fortunately!) into contemporary dance working with the very talented Liesel Zink. Working primarily with movement over that year really expanded my horizons in regards to performance physicality. As a life long student of the martial arts, I really became interested in the style of South Korean cinema and their application of contact-based fight choreography. The visceral reaction of seeing two or more individuals locked in desperate conflict is something that I find utterly fascinating. There is a raw truth to those moments, that even if they make us uncomfortable, cannot be denied. The first development of inter/nality (first shown at La Boite Scratch 2011) was the culmination of everything that I had been exposed to during that year.

Thematically, I am very interested in the exploration of the unseen and the unconscious images we have of ourselves. Simply put, inter/nality is an attempt to zoom in on the internal process of receiving bad news. Emotional benchmarks are physically manifested and resolved (or not) in the journey to resolve the dissonance between the often skewed image we have of ourselves and the truth of reality.

Give us a brief recipe of your process in creating new works?

If I could nail down exactly one way of creating work I would be one happy chappy! Because I seem to have a healthy appetite for change, I don't think I've actually created one show that really resembles another, obviously in content but even in form or discipline/s. But some things I HAVE noticed are:

1 sack of Stimulus - Without a hunger to explore an concept, I probably wouldn't get off my couch.

4 cups of what-the-hell-are-we-doing? - I think immersion in the idea or concept is pretty integral. Exploring any and all possibilities can be the most fun and most confusing part of the process. Which leads into...

1 cup of anti-ego - I've done some really, really stupid things in the pursuit of art. But without those very embarrassing things, some of the best moments I think I've ever performed would never have some about.

Who inspires you? And who influences you and your work/process?

My influences are so very varied that if anyone actually knows who they all are I would be very impressed. Top of the list is Akram Khan, Frantic Assembly, Chunky Move, Donnie Yen and Akira Yamaoka. In terms of how to create work/process, definitely Steven Mitchell Wright (The Danger Ensemble), his attitude and dedication to getting the best out of his performers while simultaneously serving the work is pretty amazing.

The hardest thing about your practice and best thing about your practice?

One of the hardest things is trusting in myself. Because I'm frequently treading across disciplines and mixing them up, it's hard to really know how to judge how the work is progressing. Communication is also something that can be difficult for performers from different disciplines. Somehow I always end up using animal metaphors. I should probably stop doing that, I don't think it's very effective.

The best thing would probably be the hybridisation of forms. I'm drawn to physical storytelling, no matter what incarnation or discipline.

If you could only survive as one body part which part would it be?

Pectoralis Major. Boom.

Best/worst/weirdest advice your mother gave you?

Don't eat those berries. Those give you worms.

inter/nality @ Melbourne Fringe Festival 2012


Time: 9.15pm, Sun 8.15pm (60min)

Dates: 6 - 13 October

Place: Melbourne Fringe Hub program, North Melbourne Town Hall Tickets

Full Price: $ 20
Concession: $ 18
Tuesday: $ 15
Group: $ 15
(per person for 4 people)