Museveni’s Patronage Politics: Crippling Dissent Through Handouts to the Entertainment Sector

President Yoweri Museveni’s recent appointment of singer Edrisah Musuuza, alias Eddy Kenzo, as a Senior Presidential Advisor on Creatives, signals yet another chapter in his long-standing strategy of co-opting influential figures to maintain his grip on power. While Museveni has historically relied on security forces to quash dissent, his increasing engagement with the entertainment sector reveals a shift toward softer, yet equally insidious, forms of repression. By offering personal handouts and positions of influence to artists like Kenzo, Museveni is not just expanding his patronage network but also neutralizing potential sources of opposition, all while presenting a veneer of support for Uganda’s creative industries.

Eddy Kenzo’s appointment has surprised many, especially considering his previous controversies within the Uganda National Musicians Federation (UNMF), where he faced criticism for poor leadership, particularly from musicians aligned with the opposition. Yet, this appointment is not about Kenzo’s capabilities or his contributions to the arts; it is about Museveni’s tactical use of patronage to fragment and weaken the opposition. By positioning Kenzo as a key figure within the regime, Museveni is effectively placing a wedge between Kenzo and opposition figures like Bobi Wine, who has been vocal about the President’s attempts to co-opt the entertainment industry.

This strategy is not new. Museveni has a long history of offering positions, money, and other incentives to those who could either challenge his authority or galvanize public support against him. The fact that Kenzo is now the 140th presidential advisor, joining the likes of Catherine Kusasira and Full Figure, underscores how deeply entrenched this system of patronage has become. These appointments serve not just to reward loyalty but to buy silence and complicity, ensuring that influential voices in society do not turn against the regime.

Museveni’s manipulation of the entertainment sector must be viewed against the backdrop of widespread human rights violations in Uganda. The country has experienced a systematic crackdown on political opposition, with arbitrary arrests, torture, and extrajudicial killings becoming distressingly common. The government’s repression is particularly evident in its treatment of opposition figures and their supporters. Bobi Wine, for instance, has faced numerous arrests, violent attacks, and restrictions on his movements, all designed to stifle his growing influence and his ability to rally Ugandans against the government.

According to Human Rights Watch, the Ugandan government continues to undermine freedom of expression, assembly, and association. The police and military have repeatedly used excessive force to disperse peaceful protests, while journalists covering opposition activities are often harassed, beaten, or detained. The 2021 general elections were marred by violence, with security forces killing at least 54 people, most of whom were unarmed protesters. These incidents are part of a broader pattern of repression that has characterized Museveni’s rule, particularly in the last decade.

Museveni’s outreach to the entertainment sector is a deliberate attempt to control narratives and suppress dissent. By bringing artists into his fold, he aims to dilute their potential to inspire social and political change. Artists, especially musicians, have historically played a crucial role in mobilizing the masses and challenging oppressive regimes. Bobi Wine, who transitioned from music to politics, exemplifies this potential. His music became a rallying cry for the youth, urging them to stand up against corruption and authoritarianism.

However, Museveni’s strategy seeks to neutralize this threat by co-opting artists who might otherwise challenge the status quo. By offering them positions of power, financial incentives, and public endorsements, he is effectively ensuring that their influence is redirected in ways that serve his interests. The recent meeting between Museveni and members of the UNMF, where the President urged musicians to use their platforms to promote government programs, is a clear example of how he is trying to harness the power of the arts for his own political agenda.

Eddy Kenzo’s journey from a ghetto youth in Masaka to a global music sensation is undeniably inspiring. His success, marked by his breakthrough hit “Sitya Loss” and the subsequent BET Award, made him a national icon and a symbol of what is possible for Uganda’s youth. However, his appointment as a presidential advisor raises critical questions about the role of artists in society and the ways in which their influence can be manipulated.

Kenzo’s recent engagement with Museveni, including his public appearances with the President and his relationship with Phiona Nyamutoro, Uganda’s youngest minister, has been met with skepticism and criticism from many Ugandans. His decision to align himself with a regime that has been accused of gross human rights violations has not only tarnished his image but also alienated him from a significant portion of his fanbase, particularly those who support the opposition.

Kenzo’s appointment can be seen as a reward for his loyalty to the regime and his willingness to distance himself from the opposition. However, it also serves as a cautionary tale for other artists who might be tempted to trade their influence for personal gain. While the financial and social rewards of aligning with the regime are undoubtedly tempting, the long-term consequences for one’s legacy and the broader struggle for freedom and justice in Uganda cannot be ignored.

Museveni’s use of personal handouts and appointments to co-opt the entertainment sector is a dangerous precedent for Uganda’s democracy. It is a clear attempt to stifle dissent by neutralizing influential voices and ensuring that the arts, which have historically been a powerful tool for social change, are instead used to prop up an increasingly authoritarian regime. As more artists are drawn into this web of patronage, the space for genuine, independent cultural expression in Uganda will continue to shrink.

The challenge now lies with those who remain outside of Museveni’s orbit. Artists, activists, and ordinary citizens must resist the temptation to sell out their influence for short-term gains. They must continue to speak truth to power, to use their platforms to advocate for the rights of all Ugandans, and to challenge the structures of oppression that have kept Museveni in power for nearly four decades. Only then can Uganda hope to break free from the cycle of repression and build a future based on justice, equality, and true democracy.