Kampala, Uganda – media entrepreneur Nyanzi has raised concerns over the ongoing push by the Uganda National Musicians Federation (UNMF) for stricter copyright enforcement, questioning whether the implications have been fully thought through. His remarks come amid rising demands from artists to criminalize unauthorized use of their music.
According to Nyanzi, while it is important for musicians to protect their work, there is a need to reflect on how broad enforcement could impact other creative sectors. “If we say music should not be used without permission, are we ready for the same rule to apply to films, documentaries, or even educational content?” he asked.
He pointed out Uganda’s unique video translation culture led by local VJs (video jokers), who translate and narrate foreign films into local languages for mass audiences. Nyanzi warned that enforcing copyright at this level would mean VJs could be arrested or forced to pay heavy fees—ultimately cutting off affordable entertainment for many Ugandans.
Nyanzi concluded by calling on policymakers to consider the wider cultural and economic realities before enforcing hardline copyright policies. “If creatives start fighting each other over access and rights, we all lose. Let’s protect content, but let’s also protect creativity.”
The Uganda National Musicians Federation has yet to respond publicly to Nyanzi’s questions, though the debate is expected to influence upcoming policy discussions in the Ministry of Gender and ICT.
If copyright enforcement were to include film, VJs could face legal action unless they pay for distribution rights—costs many cannot afford. This could limit access to entertainment for ordinary Ugandans, especially in rural and low-income areas where VJ movies are most popular.
Nyanzi Martin Luther, a youth entrepreneur in the digital media space, recently questioned whether Ugandan artists fully understand the long-term consequences of the copyright regime they are demanding. “They are struggling for copyright, not knowing it may one day be used to silence or restrict them too,” he said.
Critics argue that many of today’s artists benefited from informal music distribution when they were starting out. Songs played freely on radio, in taxis, and at events helped build their popularity long before they were in a position to demand payments.
Artists like these now face a dilemma: how to protect their work without shutting down the same informal networks that once supported their rise. Meanwhile, local content creators and cultural workers fear becoming collateral damage in a copyright crackdown.
