Jim LeBrecht’s call for inclusion echoes the fight for mobility in Zimbabwe ’s film industry

Feature by Dumisani Ndlovu

In a world increasingly recognizing the power of authentic representation, the call for diverse narratives resonates louder than ever. This mandate recently reached Zimbabwean creatives via a transatlantic Zoom meeting, where acclaimed American film producer and disability rights advocate, Jim LeBrecht, urged stakeholders to dismantle barriers and actively include people with disabilities—particularly those with Cerebral Palsy (CP)—in local filmmaking.

LeBrecht, known for his work on the Oscar-nominated documentary Crip Camp, emphasized the ethical and creative necessity of inclusion, noting that people with CP often remain the most neglected community in local productions. His message resonates deeply within Zimbabwe’s arts sector, where a cohort of resilient artists is already using their platforms to challenge systemic exclusion and shift public perception.

“In the United States, we were taught about moving from a medical model to a social model of thinking about disability,” LeBrecht explained. “Who you are is not your diagnosis. What is important is your capability, your potential. Focusing on that, and looking at what barriers have been put in place to prevent one from realizing their potential, from having a life of their own, choosing like everyone else. I believe everyone has potential, including those with Cerebral Palsy.” He encouraged participants to watch Crip Camp, citing the story of a couple, both with Cerebral Palsy, living in Oakland near him, acknowledging that while their language might be difficult to understand, their contributions are undeniable.

“I am not trying to sugarcoat anything, but I am speaking from experience. There are people with Cerebral Palsy with immense capabilities. For example, in Crip Camp, Neal, from that couple, became a Vice President at Wells Fargo Bank and was one of the developers of the ATM—something everybody all over the world can use.”

At the heart of this struggle for creative freedom stands Midlands-based Kudakwashe Doba, a 40-year-old filmmaker whose extraordinary journey is a powerful testament to the triumph of mental fortitude over physical limitation.

Born with Spastic Quadriplegic Cerebral Palsy (CP), a neurological condition that affects all four limbs and muscle coordination, Doba’s resilience is etched into every frame of his work. While his condition impairs movement and speech, Doba has perfected a truly unique method of creation: he types every script and conducts editorial work using a specially designed stick attached to a homemade hat.

This monumental effort has birthed significant accomplishments in the Zimbabwean film landscape. Doba was a key creative force behind the popular sitcom The Small House Saga (2007–2013) on ZTV. More recently, he earned national acclaim for directing and producing the soap opera Komboni Secrets, which culminated in a prestigious national award presented by President Mnangagwa in 2023, honoring his use of arts to positively impact the youth.

Medical Rehabilitation and Health Promotion Practitioner, Bigboy Madzivanzira, explains the daily reality of Doba’s condition: “Simple tasks such as bathing, dressing, and feeding often require assistance for individuals with Spastic Quadriplegic Cerebral Palsy.” However, Madzivanzira stresses that with unwavering determination, these individuals can and do successfully pursue education, build careers, and explore hobbies. Doba's life is definitive proof of this potential.

Despite his impressive achievements, Kudakwashe Doba’s creative momentum has been abruptly halted by a fundamental crisis: the deplorable state of his assistive device.

“I’m facing a major setback due to the state of my wheelchair. It’s negatively impacting my creativity, and my work is now at a standstill,” Doba lamented. “Without proper mobility, I can’t keep up with my projects. To make matters worse, there’s a lack of sponsorship for my work. For example, I scripted Svinurai over five years ago, but to this day, the romantic movie has never seen the light of day.”

Because of his specific needs related to CP, Doba requires a customized wheelchair, an essential tool for his independence, priced at approximately US$600—a sum that remains prohibitively high for many in Zimbabwe. His struggle underscores a systemic failure within the country to provide accessible and necessary assistive technologies.

Doba is not alone in using an artistic platform to force a necessary shift in societal attitudes towards disability. Their work reinforces LeBrecht’s call for broader inclusion by showing that talent is not limited by physical form. Tafadzwa Madzika, known as "Chairman," is a prominent figure in the Zimbabwean stand-up comedy scene who uses his platform to challenge stereotypes. Despite having CP, his stand-up comedy proves that wit and humor are universal, effectively dismantling assumptions that appearance dictates capability. Chipo Muchegwa, a captivating musician, demonstrates her mastery of the mbira (thumb piano) using her legs, offering a powerful visual lesson in adaptation and skill. Sinikiwe Kademaunga, a powerful motivational speaker also born with a disability, actively shares her personal journey, inspiring countless others not to let their disability define their identity or limit their aspirations.

While individual resilience shines brightly, the challenges facing Doba and his peers are rooted in inadequate policy and economic structure. Tsepang Nare, a Disability Development Consultant, argues that structural policy changes are necessary to bridge the gap between need and access.

“The government should establish an assistive technologies fund, supported through taxation, to ensure accessibility for those in need,” Nare proposed. He further highlighted the need for local solutions: “Since assistive devices are costly and often imported, we should set up assembly factories or community hubs where people are trained to assemble parts locally.”

Nare emphasizes the need for streamlined governance, urging the development of a comprehensive e-governance database to track people with disabilities and their specific needs, ensuring a simpler and more efficient procurement process.

Beyond the cost of essential devices, the broader film industry context remains challenging. Moses Maphosa of Savannah Trust is on record pointing out the financial paralysis crippling local creatives, irrespective of ability.

“The biggest challenge is the lack of funding. Film is a capital-intensive art form that requires substantial resources, yet there is no structured film financing in Zimbabwe,” Maphosa explained. He lamented the lack of proper distribution channels, forcing many talented filmmakers to rely on meager personal savings, inevitably compromising production quality and limiting global reach.

As Jim LeBrecht's words on inclusion linger, the determination of artists like Kudakwashe Doba hangs in the balance. Will Zimbabwe's creative industry and government provide the necessary support to match the resilience of its artists? Doba's remarkable adaptability, exemplified by his unique stick-on-hat typing method symbolizes extraordinary personal drive, yet his stalled career is a depressing reminder that brilliance is useless without basic access.To truly realize the vision of inclusion, the system must now provide crucial support, including a reliable wheelchair and state-of-the-art filmmaking equipment, to reignite the career of this Presidential Award-winning filmmaker.