By
Ronald Nabimanya
General Salim Saleh, the National Coordinator of Operation Wealth Creation (OPC), has long been an advocate for the growth and professionalization of Uganda’s creative industries. His recent comments at the launch of the MIAU, a Chinese firm at the Gulu bus terminal have sparked mixed reactions. While some praise his ongoing efforts to structure and support Uganda’s music and arts sectors, others interpret his remarks as dismissive or unsympathetic. However, a closer look at General Saleh’s consistent dedication to the arts reveals a leader whose contributions have been invaluable, even if often misunderstood.
General Salim Saleh has played a pivotal role in establishing key institutions that have given Uganda’s arts community the chance to professionalize and grow. The Uganda Musicians Association (UMA), the Uganda Music Federation (UMF), and other platforms he has championed are vital for empowering artists, streamlining the sector, and enabling musicians and performers to sustain their careers independently.
However, despite the existence of these organizations, many artists continue to operate individually, rather than utilizing these established bodies. This lack of cohesion has contributed to a culture of entitlement, where musicians depend on personal interventions instead of engaging with these functioning systems. This issue is not the fault of General Saleh or the government but reflects an industry that, despite available resources, has struggled to embrace the tools designed to ensure its success.
General Saleh’s involvement in Uganda’s arts sector is not new. Long before the creation of many of these organizations, he was actively resolving conflicts and fostering unity among artists. One notable example is his intervention in 2003, when he mediated a long-standing feud between prominent artists Jose Chameleon, 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 support, where he has funded artists’ shows, attended their events, and offered guidance.
Beyond conflict resolution, General Saleh has organized music competitions and created opportunities for artists to showcase their talents. His hands-on engagement often exceeds what is expected of him as a government official. Yet, some artists have failed to recognize or acknowledge the depth of his contributions, focusing instead on personal requests for assistance.
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. Many musicians, who have sought his personal assistance, have not fully utilized the resources provided through the Uganda National Cultural Centre (UNCC) or other state-sponsored initiatives. This reliance on individual interventions underscores a deeper problem: a culture of dependency that has long plagued the sector.
While some artists criticize General Saleh, they align themselves with political narratives and occasionally even turn to opposition parties like the Forum for Democratic Change (FDC) and the National Unity Platform (NUP). The irony is stark—while these artists accuse him of neglecting the sector on social media, they continue to seek his personal support. Such contradictions only perpetuate the cycle of entitlement that General Saleh has sought to break.
The timing of General Saleh’s remarks, coinciding with Uganda’s election season, has fueled further controversy. Critics suggest his words risk politicizing the arts community and deepening divisions within the sector. However, General Saleh’s stance is a call for accountability, not political maneuvering. His comments encourage artists to rise above the culture of short-term dependence and focus on long-term sustainability.
Critics who draw parallels between General Saleh’s approach and Bobi Wine’s critiques of government engagement with artists miss a crucial distinction. While Bobi Wine’s calls for accountability have centered on the exploitation of artists, General Saleh has consistently worked to empower the sector through institutionalized support. He has created frameworks to help artists succeed independently, rather than relying on temporary or ad-hoc assistance.
If some 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 these government initiatives. The UNCC and other entities stand as tangible proof of the government’s commitment to the arts, yet many artists continue to operate outside these systems, opting for personal handouts over sustainable solutions.
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 may seem understandable in the heat of election season, they fail to recognize 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 continues to ignore the resources available to them and relies on individual interventions, it reflects not his failure, but theirs. The challenge now lies with the artists to embrace the tools at their disposal, work collaboratively, and rise above the culture of entitlement that has hindered their progress.
General Saleh’s legacy is not one of neglect but of unwavering support. It is now up to the artists to rise to the occasion and make the most of the opportunities he has worked tirelessly to create. The time has come for them to build a sustainable and professional arts sector—one that stands strong on its own, empowered by the very frameworks General Saleh has established.
The author is a concerned Ugandan, author, publisher, and innovative researcher.