The Other Film Festival WA 2022

The Other Film Festival WA puts people with disability at the centre of storytelling and filmmaking. Join us for a weekend of films by, for, and about people with disability.

The Other Film Festival began in 2004 as a ground-breaking, international, disability-led program by Arts Access Victoria that elevated Deaf people and people with disability’s voices, stories, and skills within the Australian screen industry.

This year’s The Other Film Festival WA is DADAA’s third version of the project, encompassing a program of film screenings and conversations with leading filmmakers and practitioners with disability. The festival puts a spotlight on filmmakers with disability and their stories, and connects Western Australian artists and audiences with disability to international, national, and local screen practitioners.

Read the program here:  

The Other Film Festival WA 2022 Program


Program and Tickets

  • All films MA15+, restricted to persons aged 15 and over unless accompanied by an adult
  • All films are open captioned and audio-described

Opening Night | July 15, 5.30pm

photo: close-up of balding man looking up at the camera with worried facial expression, in the background a group of people are seated on chairs in a circle


Shadow (Australia) 2022, 56min, Directed by Bruce Gladwin

A group of activists hold a public meeting, desperate to save the world. As the meeting unravels, they discover the greatest threat to their future is already in the room.

Followed by drinks and canapés.

Presented with Revelation Perth International Film Festival in association with Back to Back Theatre

Read more about the film here

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Festival Keynote Speaker Alistair Baldwin | July 16, 12pm


Alistair will be discussing his career development, opportunities and experience in screenwriting, as well as his current projects, including his latest directorial work for SBS which was developed through SBS, NITV, and Screen Australia’s Digital Originals initiative.

This event is supported by Screenwest and Lotterywest.

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Film Screenings | July 16 & 17

The weekend of film screenings highlights the voices, stories, and skills of filmmakers and practitioners with disability. DADAA Fremantle’s Cinema will host seven screenings of Australian and International short films across two days. See below schedule for details of sessions. Tickets are FREE.

Saturday 16 July

1.15pm          Session 1: Country, Identity & Art

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5pm               Session 3: Taking Action

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Sunday 17 July

12pm              Session 2: Making an Impression

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2pm                Session 1: Country, Identity & Art

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4pm                Then Barbara Met Alan

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6.30pm          Session 3: Taking Action

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Followed by Q&A with Liz Carr

Short Film Sessions

Session 1: Country, Identity & Art

Explorations of place, identity, and disability and how they shape us and our artistic practices.  This collection includes stories from Martu country and bushfire-affected areas in Australia, advice for how people with disability can prepare for climate apocalypse, and artists addressing identity, disability, and how they create work.

Session 2: Making an Impression

How do we make an impression on the people around us, how does the world perceive us and what makes an impression on us? From the ways different disabilities affect how we experience the world to assumptions made about (and sometimes by) people with disability, these diverse stories show us as powerful, aspirational, playful, and romantic.

Session 3: Taking Action

There are many ways we can take action to change our lives and those of people around us. These films poke fun at common disability tropes and depictions (when was the last time you saw a disabled action hero on screen?) and show people changing their lives and other people’s understanding of how the world works.

Presentation Partner: 


Industry Partners:

Logos: Government of WA, Screenwest, Lotterywest

Supporting Partner:

Revelation International Film Festival logo        

Digital art workshops for teenagers with autism

Calling teenagers with autism who want to develop their creativity and digital art skills.

Digital Arts for Life is a research project and workshop series for teenagers with autism aged 12-16 who want to develop their creative ideas and art skills.

The workshop program runs over ten sessions each term and places are now available for the Term 3. Workshops are held at DADAA in Fremantle on Saturday mornings from 10am – 12.30pm, starting 23 July 2022.

These fun, engaging, and supportive workshops are led by a team of specialised artists. With only 10 participants in each workshop, there are opportunities to work individually with arts mentors and explore personal interests through visual and digital arts including drawing, collage, photography, filmmaking, and animation. In addition, visits to the Art Gallery of Western Australia and John Curtin Gallery provide opportunities for participants to discover, learn about, and find inspiration in the galleries collections.

The research component of the project will help us to better understand the social, emotional, and educational benefits of arts programs for young people with autism.


 When:         Saturdays, 10am – 12.30pm
                       23 July – 24 September 2022 
Where:        DADAA, 92 Adelaide Street, Fremantle
Cost:             Free

To join the project or find out more, contact Digital Arts for Life Project Coordinator Lyndsay Humphries via

Digital Arts for Life is a joint project between DADAA, the Art Gallery of Western Australia, John Curtin Gallery, and the Curtin University Autism Research Group.

photos: Louise Coghill

Quiddity: DADAA Exhibition opens at Midland Junction Arts Centre

Quiddity: noun. the true nature of a thing or its essence.

Featuring artists who work out of DADAA’s studios in Midland, Lancelin, and Fremantle, Quiddity explores differing ideas of portraiture. Each artist has gone beyond simply depicting their subject’s physical likeness, instead aiming to capture the essence of their subject using a variety of mediums and approaches.

This exhibition is a continuation of the annual In Focus exhibition program at Midland Junction Arts Centre. For the past decade, this program has given artists from DADAA’s studios the opportunity to participate in exhibitions, workshops, and performances. In Focus has at its heart the social values of identity and disability, expressed through the telling of individual perspectives, stories, and experiences.

Exhibition runs: 7 May – 16 July 2022
Gallery open: Wednesday – Friday 10AM – 5PM | Sat 11am – 3pm

276 Great Eastern Highway Midland Western Australia

image: Simon Marchment, Artist works in succession (detail), 2021, Indian ink on paper.

Appointment of New Directors at DADAA

DADAA is pleased to announce the appointments of Julie Barratt as Director of Arts Strategy and Chris Williams as Director of Arts.

DADAA’s Executive Director David Doyle says “these appointments expand DADAA’s arts leadership capacity, which is vital as our impact, reach, and level of disability arts programming grow across Western Australia, nationally and internationally”.

Photo of Julie Barratt. Close-up of Julie who has short grey hair and is smiling at the camera.

Julie Barratt, photo: Solange Bagues

Julie Barratt brings a wealth of skills and experience to DADAA. She has significant training and experience in business development and management; community, disability and regional arts; and has worked closely with Aboriginal people with and without disability.

Julie has worked extensively in NSW as the Disability Program Manager for Screenworks, Disability Program Manager for Arts Northwest, and Regional Arts Development Manager for Accessible Arts. She was also the Senior Advisor for the development of the Woorabinda Arts and Cultural Centre in Queensland.

Most recently Julie worked as the Regional Arts Development officer for the Central Queensland Regional Arts Services Network, delivering diverse and inclusive arts projects with regional communities.

“I am very excited to be joining the team at DADAA” says Julie. “I’m privileged to have been nurtured by evolving work and collegial relationships grounded in inclusion, collaboration, cultural awareness and a drive for social justice and equity. I bring with me to DADAA a passion and desire to support diverse programming that is accessible and relevant, and which supports a culturally safe workplace.”

Photo of Chris Williams sitting at his desk smiling at the camera. He is wearing a black long-sleeved t-shirt and has short curly brown hair

Chris Williams, Miles Noel Photography

Chris Williams has worked for DADAA since 2004 and was most recently our Creative Producer, leading the arts worker team as well as managing regional and performance projects.

Chris has extensive creative development experience in arts and mental health, community and cultural development, the visual arts and disability theatre practices. Chris has led many of DADAA’s regional programs and produced significant artistic and social outcomes across these communities with people with disability.

Chris has also worked on several of our long-term international partnerships in Hong Kong, Ireland, Bangladesh, and Chile.

Chris says “I am looking forward to my next chapter here at DADAA working with our creative teams and artists to help shape and drive our future direction. We work with a great team of people, I’m truly excited to see where we go.”

DADAA’s Board and Team warmly welcome Chris and Julie to their new roles.

Farewell to DADAA Gallery Manger and Curator Katherine Wilkinson

It is with sadness that DADAA farewells inaugural Gallery Manager and Curator Katherine Wilkinson.

Katherine Wilkinson first worked with DADAA in 2012 when she was appointed as the emerging curator for the groundbreaking Here&Now13 exhibition at UWA’s Lawrence Wilson Art Gallery. Katherine brought a unique understanding to the work of artists with disabilities, and a supportive, encouraging and critical eye to the project artists’ work and the way they told their stories to audiences.

Katherine continued to grow her practice as she moved on to other projects and productions but always kept in touch with DADAA, often including studio artists in the projects she worked on. DADAA’s move to the Old Fremantle Boys’ School brought the exciting opportunity to establish a new gallery and Katherine was the perfect person to help us through the design, resourcing and creation of the inaugural program of exhibitions, as well as forging connections and partnerships with organisations such as the Fremantle Biennale and Perth Festival, and artists from across Australia.

Katherine has grown as a curator and a producer, and is a passionate advocate for inclusive practice and community building. She is leaving DADAA to pursue opportunities for large-scale productions and projects and we are really excited to watch what she does next. Though Katherine will continue to collaborate with DADAA in the future, we will miss her enormously, and we want to say a huge thank you for her invaluable contribution.

image: Trinity Williams, Portrait of Katherine Wilkinson, 2019, Tombow Dual Brush pens on paper.

DADAA Fremantle launches new exhibition space

DADAA recently launched a new exhibition space, the Side Gallery, with an exhibition by DADAA Fremantle studio artist Simon Marchment, Exodus Through Art. This exhibition presents a series of paintings which express the artist’s personal connection and experiences of place, both real and imagined.

You can visit the exhibition Monday – Friday, 10am–4pm until August 13.

The Side Gallery at DADAA Fremantle sits alongside the main gallery and will feature a program of exhibitions throughout the year.  The gallery will promote new works by West Australian and Australian artists, with a focus on artists working within DADAA’s arts program, or artists with a lived experience of disability and/or a mental illness. 

This space aims to create opportunities for first time exhibitors or artists wishing to showcase a body of work that they have had in development. Open to all mediums, works will be selected from artists through an open call for applications and an assessment panel. 

We are currently taking applications for 2022. If you are interested in applying you can find out more here.

The Side Gallery is presented by Act Belong Commit

Act Belong Commit logo 

image: Simon Marchment, Churchman Brook I, acrylic on canvas, 50 x 60cm

New Writing Program at DADAA Fremantle

Control, Shift, Return is DADAA’s inaugural writing initiative, bringing together artists with disability in a series of group workshops which will culminate in an annual print publication. Hosted at DADAA Fremantle, workshops run every weekly and participants are encouraged to develop a short, written piece for inclusion in the first issue of Control, Shift, Return. The pilot issue, themed ‘Blank Page’, will reflect the workshops, with a focus on experimenting with forms of writing, nurturing diverse styles, and encouraging meaningful relationships between artists to support their ongoing engagement with the arts and writing sector.

The workshops, led by writer and arts worker Raf Gonzalez, with support from Rashida Murphy, are intended to build skills over time, and include group discussion, individual and collaborative writing provocations, exercises and challenges, and take-home tasks. Selected outcomes from these workshops will be shared on a dedicated Control, Shift, Return webpage on an ongoing basis.


Raf Gonzalez
Raf is a Latino writer and multi-disciplinary artist. Born and raised in Perth, he comes from a family of migrants who moved from El Salvador to Australia during the Salvadoran Civil War. Raf is a proud Aspie whose work highlights often-marginalised diverse identities, raising them from supporting a character to protagonist, and giving them the agency they often aren’t afforded. Raf has written contributions published in Los Angeles Review of BooksJournal, and Centre for Stories’ To Hold the Clouds anthology. He has been supported through writing mentorship by DADAA and Centre for Stories.

Rashida Murphy
Rashida is a writer, poet, reviewer, and blogger. She has published her short fiction and poetry in various international literary journals and anthologies, including the Westerly, Open Road Review and Veils Halos and Shackles. Rashida has a Masters in English Literature and a PhD in Writing from Edith Cowan University. In 2016 she was the joint winner of the Magdalena Prize for feminist research for her thesis which includes the novel The Historian’s Daughter. She has been a judge of literary competitions and awards such as The WA Premier’s Literary AwardThe Spilt Ink competition, The Tallus Prize, the Ellen Kemp Memorial Prize and The KSP short story competition; a writer-in-residence at the Katharine Susannah Pritchard Writers Centre WA and the Booranga Writers Centre in NSW; as well as an invited guest and facilitator at the Perth Writers Festival and the Hyderabad Literature Festival. 

For information about the program contact or call DADAA Fremantle 9430 6616.

Control, Shift, Return is presented by Act Belong Commit

Act Belong Commit logo

DADAA Exhibitions at Midland Junction Arts Centre

Three exhibitions open at Midland Junction Arts Centre on Saturday 8th of May, with artists from DADAA’s Midland studio featuring in both TAP [Tactile Art Project] and Blue Beautiful.

TAP [Tactile Art Project], curated by Oliver-Max Taylor, is a showcase of tactile and multi-sensory artworks intended to be touched, seen, heard and smelled. This year’s iteration of the annual In Focus exhibition, presents 30 artists who work out of DADAA’s Midland studios. The project began with a few ceramic artists with vision impairment wanting to create work for others with vision impairment, and soon grew to include many participants from across DADAA Midland’s painting and textile workshops.

Blue Beautiful is an installation by emerging artist Dylan Madurun, whose art practice connects a variety of subject matter with his favourite colour, blue. Dylan works out of DADAA’s Midland and Hamersley studios and was the recipient of a Nexus Grant in 2019. He was also Awesome Festival’s Artist in Residence at the State Theatre Centre in 2020.

In addition to free tactile tours of these exhibitions, DADAA’s Access All Arts team will provide vision awareness training and tactile tour training to City of Swan cultural groups, as well as training to industry groups. This will build disability and access awareness, and encourage more programs to be inclusive of the vision impaired/blind community.

Alongside these two exhibitions is Critical Time, which brings together the work of Tom Freeman, Andre Lipscombe, Joana Partyka and Gemma Watson, artists “who keep time, waste time, or chronicle time, charting tempos through meditative, accumulating, and reflective practices”.

* please note that due to Covid restrictions, the opening event has been rescheduled to Fri 28 May 6:30pm – 8pm | Registration essential 


Exhibitions run Sat, 8 May – Sat, 17 July 2021
Wed – Fri 10am – 5pm, Sat 11am – 3pm
Midland Junction Arts Centre | 276 Great Eastern Hwy Midland WA

image: Mark Landon, Amphora (detail), 2021, ceramic

Artist Spotlight | John Morrison

Fremantle Arts Centre’s annual Revealed exhibition showcases emerging Aboriginal artists from across WA. Featuring work from over 100 artists whose diverse practices encompass painting, installation, textiles, photography, print media, video, jewellery, carving and sculpture, this year’s exhibition also includes John Morrison, an emerging artist and multi-media designer who works out of DADAA’s Midland studio.

John was born in Darwin and currently lives in the Midland area. His mother, who is also an artist, is from Queensland with connections to Central Australia. John’s father is a Noongar man from the South West of WA.

Through his practice, John explores the interactive potential of animation and gaming as a way of telling his stories and sharing his love of pop culture and Japanese animation. “I love anime and manga. I read a lot of books, novels, comics, and cartoons. I also love all types of video games, and I also love to watch related stuff on youtube.” John dreams of travelling, with Japan at the top of his list of destinations where he can further explore his fascination with Japanese culture.

As John’s practice has progressed, he has become more interested in exploring world-building: each with idiosyncratic rules and inhabited by characters with special skills and abilities. John’s work, World Monsters, fills Fremantle Art Centre’s children’s education zone, offering a small glimpse into John’s carefully constructed world of gaming characters and fantastical creatures through a series works on paper which are then brought to life via a digital game.

The first prototype of this work and the console were acquired by AGWA for the State Art Collection in 2020. John was also recently selected to be part of the Ability Centre’s 70th anniversary exhibition which opens in July.

Revealed is on at Fremantle Arts Centre until May 23, 2021.

images: (top) John Morrison, World Monsters, 2021, video game, console and screen, works on paper (dimensions variable), installation view from Revealed, 2021, Fremantle Arts Centre, photo: Pixel Poetry, courtesy of Fremantle Arts Centre. (bottom) John Morrison with his work, World Monsters, installation view from Revealed, 2021, Fremantle Arts Centre, photo: Pixel Poetry, courtesy of Fremantle Arts Centre.

Raf Gonzalez | You Can’t Rush Art

There’s this round table at my parents’ house that has been there for a long time now. It’s white and circular in shape with a wooden underlay and a sturdy metal leg right in the middle. Though simple, it’s one of those pieces of furniture that comes to mind easily for me. On birthdays, the rolling chorus of mariachis singing Las Mañanitas would fill the air, kettle bubbling alongside, and the white table now adorned with a feast suitable for the special occasion. As a first-generation Australian born and raised in a migrant family, owning a piece of furniture was a symbol of stability: it is one of only a few items that always reminds me of home.

No matter the situation, be it confrontational, celebratory, or mundane, the round table has been a consistent presence throughout my family history. I was sitting at that table when my sister Raquel told our family she was pregnant. I remember everything from that night: my Dad was sitting at his usual comfortable spot, my nephews running around him in a chaotic pre-sugar rush high. I could feel my excitement growing as I eagerly watched over my mum prepping my favourite meal of pupusas, a traditional snack from El Salvador that always elevates my cultural pride. We gathered with anticipation around the table. From the moment we heard Raquel say those two magical words, my jaw dropped as our collective initial disbelief transformed into joy and utter bliss. As the heart of our kitchen, you could say that this table forms a tapestry of the history of my family’s life, of all the good and the bad.

I was reminded of this round table when I first saw Olivia Biasin’s art work at DADAA Fremantle’s Gallery as part of the exhibition In Record Time. An assemblage of collation and contemplation replicates a functioning computer desk, meticulously organised with sketchbooks and various art equipment, it is laid out in a way which mimics the artist’s own home. Milk crates configured around the desk further create the atmosphere of a workable space. A neat arrangement of polaroids surrounding the desk give the viewer an insight into the life that this furniture has had – alternately one of chaotic creative mess or precise tidiness, at the will of its owner. In each image Olivia deliberately positions the camera in the exact same spot to record the working life of the desk, and by extension, her. Their arrangement is not linear, but rather they move back and forwards in time, painting the idea of an ongoing process. Despite their volume, not one is a repeat. Each frame captures a distinct moment in Olivia’s life – from the mundane to the personal and vulnerable artistic struggle. Yet one thing remains constant throughout: the desk. Olivia’s equivalent to my family’s round table.

Standing in front of her work, I imagine Olivia sitting by this desk spending hour upon hour labouring over concept designs for her art installations. Blunt pencils are scattered around the place, while eraser smudges and scrunched up paper perhaps signal a failure in execution. Hands aching and blistered, she literally carries her work as a maker between them. Speaking as a fellow artist, I can understand the relentless pursuit of artistic enlightenment. And I doubt that I am the only one.

Clare Peake’s pottery is a patient craft with no single pot being the same in design, structure, or character. Even just looking at her work, you get a strong sense of the labour intensive process of her craft: from the building to the drying to the painting and to drying again. The sheer volume of Clare’s work speaks to her level of commitment to seeing her project through.

This perseverance is also evident in Rocky Lu’s drawings of buildings, whose intricate attention to precision, shape, tone, and colour, create an undeniable sense of stamina with each work taking up to several days to complete. Yet standing in front of them, you don’t get any impression of fatigue from the artist. His drawings are free from indentation, pressure or other blemishes.

In stark contrast, knocking into my ankles with obnoxious persistence, Bjoern Rainer Adamson’s robot, with its insidious recorded narration, serves as a constant and daunting reminder that the expectation to justify and quantify your practice as an artist is lurking just around the corner. Together, they are a collection of personal reflections around practice and process which each share a memory and perspective of the passage of time.

Lastly, we can’t really talk about the labour that is evident in In Record Time without addressing Roch Dziewialtowski-Gintowt’s dedication to his practice. Roch’s work invokes a discipline and a respect for the rituals that have been carried out by him on a daily basis for the last 10 years. I have fond memories of passing Roch in the DADAA halls: in his usual spot, labouring away with his set of pencils and textas. I didn’t really have a full grasp of what his work entailed until I saw it all displayed here in the gallery space. A prolific body of work, Roch’s art represents a clear and purposeful practice, based around an idiosyncratic set of rules and patterns of working. I know that I speak for everyone at DADAA who knew Roch when I say that his spirit as a colourful, focused, and concise artist lives on in this body of work.

Art is something that takes time to evolve: from the first inception of an idea to its resolution, it is time that shapes a work, together with constant patience and commitment. In Record Time represents the practice of art in both its full glory and in its slow monotonous slug. More than just something audacious to look at, the process of art embodies our stories and our souls and how we share these with one another. Whether it be a sentimental family table, or a work of art, our memories and our stories are built into the objects in our lives. In loving memory of Roch Dziewialtowski-Gintowt, In Record Time is the ultimate analogy for why you can’t rush art.

Raf Gonzalez


images: (below) Roch Dziewialtowski-Gintowtuntitled, series c2010 – 2020, pencil and pastel on paper, 30 x 21 cm (each), photo: Pixel Poetry, 2020 |  (top) Olivia Biasin, An assemblage of collation and contemplation (detail), 2020, dimensions variable, photo: Pixel Poetry, 2020