I am aware that Kyagulanyi’s supporters will likely refute the title of this article even before reading its content. However, the question—Is Bobi Wine running for president, or is he simply filming a political documentary?—deserves serious reflection, especially in Uganda’s current political context where symbolism often overshadows substance.
Bobi Wine’s rise from celebrated musician to a formidable political figure has been rapid, dramatic, and highly visible. His public appearances, speeches, and political activities frequently carry a dual undertone. On one hand, he presents himself as a politician seeking to win state power. On the other, he appears to be documenting Uganda’s political struggle for history, for his supporters, and for the international community watching from afar.
Many of his supporters, most of them youthful, insist that his actions clearly reflect a genuine presidential bid. They point to his constant engagement with young people through social media, his mobilization campaigns, and his presence at public rallies. To them, his visibility represents courage and resistance. Yet critics argue otherwise. They observe that Bobi Wine often appears more focused on recording events—cameras following nearly every issue, confrontation, and speech—than on the traditional political task of building structures and hunting for votes across the country.
This documentary-style politics, marked by live streaming, cinematic storytelling, and constant online updates, bypasses state-controlled media and communicates directly with the public. While this approach is effective in attracting attention and shaping narratives, it raises uncomfortable questions about whether the ultimate goal is capturing leadership or preserving a legacy of struggle.
During his campaign rallies, particularly in areas such as Kampala, the messaging and performance led some voters to ask, “Is Bobi Wine not wasting our time? He looks more like a filmmaker than presidential material.” One concluded, “Museveni spotted the best actor to contain the angry youth.” What she meant was that Museveni appears politically wise, facing a competitor who, in her view, merely entertains and occupies the youth while the incumbent quietly consolidates votes elsewhere.
This article therefore argues that Kyagulanyi’s politics increasingly resemble the making of a political documentary—rich in symbolism, emotion, and visual record—rather than a focused and deliberate strategy aimed at capturing state power in Uganda.
Ayub Mukisa, PhD
Executive Director, Karamoja Anti-Corruption Coalition (KACC)
Email: ayubmukisa@gmail.com
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