When Uganda’s 2025/26 national budget was tabled in June, the cultural and creative industries (CCIs) sector barely made a ripple in the financial allocations. Placed within the broader Ministry of Gender, Labour, and Social Development, the sector, spread across nine domains, received a modest increase to UGX 66 billion—a figure that still pales in comparison to the over UGX 72 trillion total national budget. This equates to less than 0.1% of the national budget—a stark contrast to the 1% investment benchmark advocated by the Connect for Culture Africa (CfCA) initiative, which is pushing for greater cultural funding across the continent to match the sector’s economic and social value.
Hon. Matia Kasaija, Uganda’s Minister of Finance, presents the 2025/26 national budget—a moment that signaled renewed hope for Uganda’s creative economy with an allocation of UGX 66 billion to the cultural and creative industries. 📸 Credit: Photo by Patrick Ssentongo
Uganda’s CCIs, which contribute an estimated 3% to the national GDP, have long existed in the shadows of budget priorities. Despite their economic value, with revenue estimated at $1.6 billion, provision of numerous employment opportunities and growing global visibility, the sector has consistently received less than 0.05% of Uganda’s national budget over the past three financial years.
For industry players however, the “modest increase” signals a shift in attitude—a recognition that Uganda’s creative potential deserves real, tangible investment.
“This is not just a budget figure. It is the result of years of lobbying, endless meetings, sleepless nights, and tough conversations,” said Charles Batambuze, vice chairperson of the National Culture Forum (NCF), an apex body for all associations and federations in the CCI’s in Uganda. “For those of us who have been in the trenches, this is more than good news—it is a step in the right direction.”
The journey towards this budget allocation has been long and arduous. Singer Eddy Kenzo, presidential advisor on the creative industry, says it took the entire sector to speak with one voice. “We made the government understand that supporting the creative industry is not charity—it’s a smart economic move.”
Their joint advocacy bore fruit. The Ministry of Gender, Labour and Social Development worked closely with the National Planning Authority to ensure the sector was integrated into the Fourth National Development Plan (NDP IV) that subsequently brought about an increase in funding towards the sector.
Uganda’s finance leadership at the 2025/26 national budget presentation. The budget includes long-awaited funding for regional arts infrastructure, SACCO-based financing, and copyright enforcement for the creative sector.📸 Credit: Photo by Patrick Ssentongo
How the Money Will Be Spent
The funding is strategically directed toward revitalizing and empowering key areas that could shift the tide for Uganda’s artistes, creatives and cultural practitioners, as per Batambuze. Among the most promising aspects is the push toward SACCO-based lending facilities. By organizing creatives into structured savings and credit groups, artists will finally be able to access affordable financing—something that has remained out of reach for the majority, stalling their dreams and delaying projects.
Infrastructure is also receiving renewed attention. The government has committed to investing in creative spaces—ranging from rehearsal studios and recording booths to cultural hubs and event venues equipped with modern gear. It’s a breath of fresh air for an industry that has for years functioned without proper venues or equipment. Complementing this is state support for cultural and artistic events, both local and international, allowing Ugandan talent to be showcased more deliberately and with pride on global stages.
The legal framework isn’t being ignored either. In what could be a game-changer for intellectual property rights, the Ministry of Gender, Labour and Social Development has earmarked UGX 5 billion off the 66, to fast-track the implementation of the Copyright and Neighboring Rights Act. Permanent Secretary Aggrey Kibenge affirms this move is to ensure that artists can finally reap real rewards from their works—an especially important safeguard for when creative careers wind down, like was the case during the covid 19 lockdown or when retirement finally sets in.
Even more ambitious is the government’s plan to decentralize creativity by constructing regional creative and cultural centres and well-equipped recording studios. UGX 18 billion has been allocated for this purpose, and teams are currently mapping urban areas across the country to identify the best locations. Kibenge notes that construction is expected to begin soon, setting the stage for a more accessible and professionalized arts ecosystem. Eddy Kenzo added that regional equity is a top priority. “Artists from upcountry areas shouldn’t have to come to Kampala just to get quality sound or visibility. That’s why regional recording studios are so crucial.”
Perhaps the most symbolic gesture is the proposal to transform the Uganda National Cultural Centre—the beloved National Theatre—into a modern, multi-functional arts complex. This project, backed by the World Bank’s GROW initiative, envisions not just expanding it to more than one auditorium to several of them, new auditoriums and conference halls, but also cafeterias, dance and recording studios, innovation spaces, and support facilities that can nurture the next generation of Uganda’s creative talent.
Kibenge emphasizes that the government is committed to boosting the arts and creative industry in Uganda, and that this year’s budgetary allocation to the sector was just a testament of that commitment. He acknowledges that the sector has proved in the past couple of years that it can employ even more young people hence increasing the country’s economy, but also, supporting other sectors like tourism among others. “Every domain will be impacted in one way or another.” He noted.
The Road Ahead….
While the figures and promises sound inspiring on paper, the real work lies in turning this funding into tangible change that transforms lives. Artists and stakeholders across Uganda have long complained about beautiful budgets that never translate into visible results. So, naturally, the question that now hovers over this new UGX 66 billion allocation is—Will it actually deliver?
Batambuze, as a leader in the private sector NCF says that the success of this investment will largely hinge on transparency and timely execution by all involved parties. He further opens up about the forum’s view and key recommendations including Inclusive planning, Regional balance, Investment in copyright systems, Skilling and capacity building among others.
Government must move swiftly, but carefully, to ensure that funds reach the intended beneficiaries—especially the artists, performers, and creatives working far from the capital, Kampala’s spotlight. Past frustrations, including unfulfilled pledges and bureaucratic delays, have bred mistrust. This time, the creative community is watching—and expecting results.
There’s also a strong call for inclusivity. The creative economy in Uganda is beautifully diverse, spanning everything from traditional drumming troupes to fashion designers, and poets among others from all regions. For the impact to be felt nationwide, the implementation strategy must reflect this diversity, embracing regional voices and grassroots innovation. One size won’t fit all.
Equally important is building capacity. Beyond the money, creatives need mentorship, legal literacy, business training, and digital access to truly thrive in a competitive global industry. The road ahead must therefore prioritize partnerships—with private sector players, civil society, and international donors—who can add depth and reach to government efforts.
Uganda’s cultural and creative industries already pulse with raw talent and undeniable potential. This budget, if properly managed, could serve as a long-overdue catalyst—sparking job creation, stimulating tourism, and exporting Ugandan culture to the world. But only if the momentum is matched with integrity, openness, and a shared commitment to progress.
For now, the creative sector remains cautiously optimistic. There is hope, but also a sense of urgency. The big question remains, what does the future hold with this budget? Julius Kawuki, a policy analyst, says that as the government moves to increase funding into the CCI’s, it should think of creating a separate independent ministry for this sector where the many scattered mandates can be consolidated. “This will quicken the expedition of works unlike now when the sector is embedded into an already suffocated ministry. This bundling weakens visibility and accountability.” He concludes noting that—when culture is seen as a soft, feel-good sector and not a strategic investment, it gets deprioritized in times of fiscal constraint.
In the aftermath of this year’s budget release, one reality stands out: if Uganda is to fully unlock the transformative potential of its creative economy, it must move beyond symbolic gestures toward sustained and strategic investment. The Connect for Culture Africa (CfCA) campaign’s call for 1% of national budgets to be dedicated to culture is more than just a funding appeal—it represents a broader vision for inclusive growth, youth employment, and national identity-building across the continent. For Uganda, aligning with this continental benchmark offers a clear path toward real impact. The commitment has been made; the next step is meaningful implementation.
Editor’s Note
This article by Patrick K. Ssentongo, a Ugandan journalist and content producer with over six years of experience in multimedia storytelling, provides a grounded and insightful look at Uganda’s evolving investment in the cultural and creative industries (CCIs). With a background in both print and broadcast journalism, Patrick has consistently spotlighted artists, institutions, and grassroots movements shaping Uganda’s creative ecosystem.
📸 Patrick K. Ssentongo, Journalist, Storyteller and Content Producer, Uganda.
In “Beyond 1%”, he explores the country’s latest budget allocation to the sector—tracking the hard-won advocacy, fiscal shifts, and cautious optimism among stakeholders. Through compelling interviews and practical analysis, the article raises a crucial question: will this new funding truly translate into change for Uganda’s creatives?
As CfCA continues to advocate for at least 1% of national budgets to be directed toward culture, this reflection by Patrick is a timely reminder of how policy shifts must be matched with implementation, equity, and long-term commitment.
