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
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.
LEGACY OF GENEROSITY, 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.
MISPLACED CRITICISM
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.
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.
CONCLUSION
General 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 author is a concerned Ugandan
But for Hell and Heaven’s sake, other than in Gulu; can’t General Saleh camp somewhere else: in Ntungamu, Nyobushozi, Khasari, Rwashamire, Nakaskes, etc.?
Am just asking.
In other words, the man is not officially known anywhere to be a Public servant, a political appointee like an RDC, Deputy RDC and or Assistant Deputy RDC, etc. posted in Gulu; is he afraid of elsewhere and/or something ?
In more other words, like he is some kind of de’facto Governor of Northern Uganda; some of us are sick and tired of our 80-year old “Problem of Africa” and his sectarian and/or unofficial relatives, in-laws etc. masquerading and hence desperate Ugandans, including Bishops have to pander and look for this man, General Saleh of this country in Gulu.
Eish! E.g., before she was appointed the Minister of Education, Her Majesty Janet Kataha was like the de’facto Governor of Karaamoja!