Why many Ugandan politicians are relying on Lingala dancing strokes and music to woo voters

Op-Ed: During election time, grabbing voter attention is key. While in the past politicians handed out sugar, salt, or soap, today many have turned to music and dance, particularly Lingala-style dancing strokes, to charm the electorate.

In the 1984 general elections in Zaire, President Mobutu Sese Seko scored a staggering 99% of the vote. Part of his success is widely attributed to Franco Luambo’s campaign song “Mobutu, the Best Candidate”. That music, infectious and rallying, played a vital role in reinforcing Mobutu’s popularity.

Uganda has seen a similar shift. Ministers today are better known for their dance strokes than their policy statements. While it’s humorous, one hopes this doesn’t interfere with their constitutional roles. Leaders like Gen. Moses Ali and Hon. Matia Kasaija have recently been spotted displaying outdated but nostalgic dance moves to win over voters.

Previously, winning elections demanded a heavy wallet. Today, besides a good financial base, a politician needs strong dancing strokes. It’s no longer about ideology alone it’s rhythm, vibes, and crowd pull.

One notable game-changer was Bobi Wine. In 2017, he unexpectedly stormed the political arena, powered not by financial muscle but by music. His Ghetto fanbase, once politically dormant, became an energized force.

Bobi used his hits to push political messages and challenge state authorities, often naming and shaming specific individuals in power like in “Tugambire Ku Jennifer”, aimed at Jennifer Musisi of KCCA.

President Yoweri Museveni, once revered for his ideological grounding and revolutionary leadership, has also gone musical in recent years. During the formative years of the National Resistance Movement (NRM), intellectuals like Prof. Mahmood Mamdani and Prof. Dani Nabudere praised Museveni as a scholar deeply steeped in Fanonian theory and revolutionary praxis. Titles like “Sowing the Mustard Seed” and writings on Mozambique’s liberation verified his intellectual credentials.

However, facing musical threats from Bobi Wine, Norbert Mao, and Col. Kizza Besigye, Museveni decided to beat them at their own game on stage.

From “Another Rap” to “Mp’enkoni” and “Paka Rubale”, Museveni released hit songs appealing to the youth.

In “Mp’enkoni,” he metaphorically references a stick possibly symbolizing authority, force, or a gun used to fend off political rivals. His musical campaign is expected to intensify ahead of the 2026 general elections, which are now less than 200 days away.

Interestingly, Col. Kizza Besigye has not released music of his own. Instead, he has allowed his supporters to sing on his behalf, with songs like “Dakitari” by the late Sarah Kisakye and “Fungua Barabara Besigye Amengia” becoming popular opposition anthems. Perhaps, with more time now in Luzira, he might be cooking up a surprise album under his new party, PPF.

Music has a long history as a political tool across Africa. But it’s a double-edged sword. Franco, the very man who once campaigned for Mobutu, was later arrested for his song “Luambo Ndoki” a veiled critique accusing a mysterious figure (believed to be Mobutu) of cannibalism and tyranny.

In Uganda, the NRM also harnessed music strategically. The famous “Tubonga Nawe” campaign song featuring Jose Chameleone and others was a massive hit.

As Bobi Wine gained ground, Museveni countered by co-opting musicians like Catherine Kusasira, Bebe Cool, Full Figure, and Mark Bugembe (Buchaman) offering them positions, security escorts, and party responsibilities.

These artists helped bring the party’s message to the urban poor, a demographic once loyal to the Ghetto movement.

Bobi Wine created a symbolic “state within a state” in his ghetto stronghold complete with “cabinet members,” “ambassadors,” and salutes.

This theatrical display of power, dressed in military-style attire and echoing statehood, eventually pushed the government to enact laws banning civilians from wearing military or camouflage clothing.

His music, meanwhile, appealed to the masses—particularly the unemployed, disillusioned youth. Even without official authority, he boldly claimed credit for police salary increases and positioned himself as a voice of justice and fairness.

Ugandan politics is at a cultural crossroads. Where once ideology reigned, now music leads the campaign trail. For a large section of voters especially the youth music resonates more deeply than long political lectures. Politicians have realized that when people lose taste for ideology, you don’t argue you change the tune.

Music today is no longer a sideshow. It’s central. Whether used for unity, resistance, or satire, it has become the new language of politics in Uganda. And as 2026 approaches, don’t be surprised if politicians release more songs than manifestos.

The author is Steven Masiga, a concerned citizen.

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