During a commemorative ceremony that evoked feelings of nostalgia along with a sense of immediacy, Robert Kyagulanyi Ssentamu, widely recognized as Bobi Wine, strongly urged Ugandan musicians to take up their role as teachers, bridge-builders, and catalysts for transformation.
At the 17th commemoration of the passing of renowned artist Paul Kafeero at St Agnes Catholic Church in Makindye, Kyagulanyi seized the opportunity to urge musicians to transcend mere entertainment and craft tunes that resonate deeply with the national spirit.
“Music ought to not just fill our hearts with joy but also enlighten us and serve as a reminder of our duties as citizens,” stated Kyagulanyi.
In an era where our nation encounters numerous difficulties, it falls upon us, the creatives, to serve as the moral compass of society.
Kafeero, who was frequently recalled as one of Uganda’s most talented and lyrical kadongo kamu musicians, passed away in 2006 but continues to be a significant figure in the country’s music scene.
Frequently laden with metaphors and satire, his lyrics mirrored the daily challenges, romances, and ethical quandaries of Uganda’s existence.
A lot of people who were present at the service mentioned that his absence continues to be profoundly noticed in an industry where short-lived fads and profit-driven priorities currently prevail.
“Kafeero was an amazing individual who spread love and knowledge across the country with his music,” reminisced long-time artist Aloysious Matovu Joy, who shared the stage with Kafeero during his peak years.
Not only did he sing, but he also taught us. He pushed our boundaries.
The educational value of Kafeero’s music was a recurring topic during the service. Reverend Father Joseph Ssebyala spoke from the pulpit, characterizing Kafeero as a visionary whose musical works provided insights usually associated with literature and philosophy.
“The priest stated, ‘Let’s create melodies that echo the essence of our era and elevate our community.’ He believed his compositions were driven by intent rather than mere entertainment.”
Kyagulanyi’s address expanded upon this heritage. He encouraged his contemporaries to find motivation in Kafeero’s existence—not merely his creations.
Highlighting that music has the power to be both transformative and healing, Kyagulanyi indicated this time as a period of reckoning for Uganda. This era is marked by growing economic disparities, high rates of youth unemployment, and political instability, all of which have created divisions within the country.
He emphasized that it is crucial for artists to come together, irrespective of their origins or styles. United, they can motivate an entire era and etch an enduring impact on society.
He likewise directed his attention towards sector-wide issues, notably the absence of adequate structural backing for those in creative roles.
Addressing policymakers, Kyagulanyi urged for enhanced copyright protection to safeguard musicians’ creations and guarantee that artists can make a fair income from their skills.
He stated, ‘The government needs to take action and guarantee protection for our artists.’ He added, ‘These creators should reap rewards from their creative efforts, and robust copyright laws are essential for attaining this objective.’
These worries are not recent developments. Over the years, creators have voiced strong disapproval of widespread copyright infringement, inadequate royalty structures, and insufficient acknowledgment they encounter even with their significant cultural contributions.
However, as Kyagulanyi and others pointed out, the concern goes beyond economics. It’s also about maintaining honesty within artistic expression and making sure that stories such as Kafeero’s can still reach their intended audiences.
One of those who paid homage was vocalist Robinnah Namatovu, widely recognized as Bisirikirwa, acknowledging Kafeero’s significant impact on her creative path.
She expressed her gratitude to fellow artists and supporters such as Kyagulanyi, Matovu, and playwright Andrew Benon Kibuuka for their steadfast support of musicians through challenging periods.
Honoring those who preceded us and perpetuating their messages is crucial,” Namatovu stated. “Our music allows us to maintain their legacy.
Kafeero’s tracks—such as “Walumbe Zaaya,” “Dipo Nazigala,” and “Kampala Mu Kooti”—continue to serve as standards for narrative prowess and musical skill.
His talent for addressing intricate topics through humor, irony, and compassion lent expression to Uganda’s challenges and dreams.
Empirical studies have validated what Kafeero inherently understood: music serves as a powerful catalyst for societal transformation. It has the ability to influence public sentiment, foster discussion, and modify conduct.
Artists can guide society towards positivity by basing their creations on themes of education and justice.
Kyagulanyi, who gained prominence through his socially aware lyrics prior to entering politics, understands this influence personally.
His metamorphosis from a young person from the ghettos into an opposition leader stands as proof of how music has the power to create movements and inspire action.
Yet, as he warned, inspiration is not enough. Without deliberate effort and cooperation among musicians, the space for meaningful music risks shrinking under the weight of commercialisation.
Instead of commemorating Paul Kafeero merely by performing his music annually,” Kyagulanyi stated, “let us embrace his legacy—daily, in each line we compose, in every melody we create.
Long after the congregation dispersed, the impact of those words remained. To many, they served as a recollection of Uganda’s musical past. Yet for others, they posed a question about its potential future.
Provided by Syndigate Media Inc. (
Syndigate.info
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