By Nabimanya Ronald
Kapeeka,Nakasongola: General Salim Saleh, a prominent figure in Uganda’s arts and entertainment sector, has long been a champion for the growth and professionalization of the creative industry. His recent comments at the launch of the MIAU at the Gulu bus terminal have sparked mixed reactions. While some applaud his ongoing efforts to structure and support Uganda’s music and arts sectors, others have criticized him, interpreting his remarks as unsympathetic or dismissive. However, a deeper look at General Saleh’s consistent dedication to the arts reveals a leader whose contributions to the sector have been invaluable and whose actions have often been misunderstood.
Visionary Leadership in Strengthening the Arts Sector
General Salim Saleh has been a driving force behind the creation of key institutions that have given the arts community in Uganda a chance to professionalize and grow. The Uganda Musicians Association (UMA), the Uganda Music Federation (UMF) etc are among the vital platforms that General Saleh has championed. These entities are not merely administrative tools; they are designed to empower artists, streamline the sector, and help musicians and performers sustain their careers independently.
However, while these organizations exist, many artists continue to operate individually rather than utilizing these functioning bodies. This lack of cohesion in the arts community has perpetuated a culture of entitlement, where musicians rely heavily on individual interventions rather than working within established systems. This issue is not the fault of General Saleh or the government, but rather a reflection of an industry that, despite the availability of resources, has failed to fully embrace the tools designed to ensure its success.
A Legacy of Generosity and Mediation
General Saleh’s contributions to Uganda’s arts sector are not new. Long before the establishment of some of these entities, he was actively involved in resolving conflicts and fostering unity among artists. A notable example is his intervention in 2003, when he helped mediate a long-standing feud between prominent artists Jose Chameleone, Bebe Cool, and Bobi wine leading to a reconciliation that helped stabilize the music scene. His mediation efforts are part of a broader history of involvement, where he has continually supported artists, funded their shows, and attended their events.
Beyond conflict resolution, General Saleh has organized music competitions and created opportunities for artists to showcase their talent. His engagement with the arts has always been hands-on, often going beyond what is required of him as a government official. Despite this, some artists have failed to recognize or acknowledge the depth of his contributions, focusing instead on personal requests for assistance.
Misplaced Criticism and the Burden of Entitlement
Despite his long-standing support for the arts, some critics particularly within the music industry have responded to General Saleh’s recent comments with disdain. A number of musicians have frequented his home for personal assistance but have not utilized the platforms and resources made available to them through the Uganda National Cultural Centre (UNCC) or other state-sponsored initiatives. This reliance on individual interventions reflects a deeper problem: a culture of dependency that has plagued the sector for years.
It is important to note that while some artists continue to criticize General Saleh, they also align themselves with political narratives, sometimes even turning to opposition parties like the Forum for Democratic Change (FdC), National Unity Platform (NUP) etc. The irony is stark, while these artists criticise him on social media and accuse him of neglecting the sector, they continue to rely on his personal support. Such contradictions only fuel a cycle of entitlement that General Saleh has long sought to break.
The timing of General Saleh’s remarks, coinciding with Uganda’s approach to election season, has sparked further controversy. Critics have suggested that his words risk politicising the arts community and deepening divisions within the sector. However, General Saleh’s stance is a call for accountability. The suggestion that his comments are politically motivated overlooks his consistent advocacy for the professionalization of the arts. He is simply encouraging artists to rise above the culture of short-term dependence and embrace long-term sustainability.
Addressing the Broader Critique
The critics who draw parallels to Bobi Wine’s critiques of government engagement with artists miss a crucial point. While Bobi Wine’s calls for government accountability have been based on concerns over the exploitation of artists, General Saleh’s approach has always been aimed at empowering the arts sector through institutionalized support. He has worked to establish frameworks that give artists the tools to succeed independently, rather than relying on temporary or ad-hoc assistance.
If certain artists feel sidelined, it is not because General Saleh or the government has neglected them, but because they have failed to engage with the opportunities presented by the government. The UNCC and other entities stand as tangible proof of the government’s commitment to the arts, yet many artists have chosen to continue operating outside of these systems, preferring personal handouts over long-term solutions.
Conclusion
General Salim Saleh’s impact on Uganda’s arts sector is profound and enduring. He has invested time, energy, and resources into fostering an environment where musicians and artists can thrive independently. His creation of structured platforms, his role as a mediator, and his direct support for artists reflect a leadership style that is proactive, generous, and visionary.
While recent criticisms are understandable in the heat of election season, they overlook the broader picture. General Saleh’s commitment to the arts has always been about long-term empowerment, not short-term handouts. If the arts community fails to recognize the value of the systems in place and continues to rely on individual interventions, it is not a reflection of his failure, but of theirs. The challenge now lies with the artists: to embrace the tools at their disposal, to work collaboratively, and to rise above the culture of entitlement that has hindered their progress.
General Saleh’s legacy is not one of neglect but of unwavering support. The onus is on the artists to rise to the occasion and make the most of the opportunities he has created. It is time for them to prove that they can build a sustainable and professional arts sector, one that stands strong on its own, empowered by the very frameworks General Saleh has worked tirelessly to put in place.
