A Legacy of Artistry and Mentorship
Kwezi Kaganda’s journey in the performing arts has left an indelible mark on Ugandan culture. From his early days as a young actor to becoming a mentor and writer, his contributions have shaped the careers of many performers who now grace stages and screens across the country. His story is one of resilience, creativity, and a deep commitment to nurturing talent.
Art has been a cornerstone of Kaganda’s life. He often reflects on how it gave him purpose, identity, and a sense of family. For him, the most meaningful way to give back is by helping others find their own voice. This philosophy continues to resonate through the stages, classrooms, and television screens of Uganda, reminding everyone that true artistry lies not in applause, but in continuity.
Kaganda’s first stage was far from glamorous. It was a living room in Ntinda during the tense final days of Idi Amin’s regime. In 1978, he gathered his younger siblings and directed them inKing Arthur, performing for their parents and neighbors. Though there was no applause that day, something powerful happened—a young boy discovered the power of stories to bring people together.
From that moment, theatre became more than just entertainment; it became a language he wanted to speak fluently. At Kyambogo University, he immersed himself in drama under the late Elvania Namukwaya Zirimu, a prominent figure in Uganda’s performing arts scene. His aunt, Prof Rose Mbowa, encouraged him to pursue formal training in Music, Dance, and Drama (MDD) at Makerere University. His father, a writer and journalist, also played a role in steering him toward the creative path.
At an all-boys’ school, Kaganda’s soft voice often landed him in female roles. While he laughs about this memory now, he credits it with teaching him flexibility. In 1988, after graduating from university, he auditioned for The Ebonies, which had launched a drama wing. He was lucky enough to be picked. His breakthrough role came by accident—or perhaps destiny. He was cast as an understudy for a character called Inspector Otim. When the lead actor couldn’t make it, Kwezi stepped in. The original actor never returned, and Inspector Otim became a household name. Audiences laughed, loved, and remembered him. “People still call me Inspector Otim to this day,” he says.
But his favorite role was one most audiences might not recall loudly—Alex Mutagejja, a Muganda English teacher trained in America, who returned home unable to speak Luganda properly. This role showcased his versatility and depth as an actor.
A Shift in Focus
After leaving The Ebonies, Kaganda joined Namasagali College as a teacher. Under the guidance of Fr Damien Grimes, then school headteacher, he began writing and directing school productions. “At Namasagali, I realized I had a gift beyond acting,” he recalls. Many of the performers gracing today’s stages and screens passed through his hands. Shy students acting nervous on their debut stage appearance were later supported to become confident actors, directors, and producers. The stage was no longer his alone. It became a classroom of souls.
As he grew older, Kaganda recognized that stage roles would eventually diminish. However, he found a new passion in writing. “Writing is different. Even at 80, you can still write,” he says. To hone his craft, he joined Maisha Film Lab, founded by Mira Nair, where he learned the art of screenwriting. He explains: “Film doesn’t allow you to tell. You must show. On stage, you speak. In film, you suggest.”
His work and experience led him to contribute to productions such asThat’s Life Mwattu,Hand in Hand, and laterThe Hostel, a youth drama that captured the pulse of a modern Ugandan generation. Today, he continues to write and edit forSanyu, the popularPearl Magicdrama series. He remains a silent architect behind some of the television moments that Ugandans binge, love, and laugh at, and quote.
A Family of Artists
MentionFun Factoryand Kaganda’s eyes soften. “I was there from the beginning,” he says. “Back when it was still Theatre Factory.” Their first show at TLC is etched in his memory. The audience was small, mostly friends, and he was paid a plate of chips. At that time, it was acting and laughter shared in dimly lit corridors of the National Theatre. “What has keptFun Factorytogether is that people are not there for money. They are there because it feels like home. We are a family. Even our families know each other,” he adds.
Kaganda was born during the 1966 Kabaka Crisis. Movement was restricted, and his mother went into labor at night. His father helped her deliver at home. Perhaps that is where his lifelong relationship with improvisation began, born into tension, raised into creativity. His father wrote. His mother healed. He grew up between stories and compassion, two things that still shape his work.
Mentorship and Cultural Authenticity
Kaganda speaks of acting with a generosity rare in an industry that often celebrates individual stars. His favorite actor was Kute, his colleague from theInspector Otimera. He says: “People thought I was funny. But it was Kute who made me funny. He listened and reacted. Acting is a give-and-take craft.”
He speaks with deep admiration of Mariam Ndagire, someone he hoped to share a stage with one day, as well as Irene Kulabako and his all-time favorite, Irene Namiiro.
Today, Kaganda is still working—writing, editing scripts, and walking into theatre rehearsal rooms like a man coming home. But if there is one role he holds above all titles, it is mentor. He challenges local writers to write authentic Ugandan stories and avoid westernising all the content. “Most of the work on the market depicts the western culture yet we have a very rich culture,” he says.
For budding writers, Kaganda emphasizes that screenplay writing has many opportunities provided they deliver good quality stories. He stresses that it’s not enough to have a good story—it should be told very well. Interest, watching other people’s works, reading, basic techniques of writing, and practising are some of the skills he believes are required to thrive in this industry.
Matthew Nabwiso is one of the talents he is proud of mentoring. “I taught him at Namasagali College and I have worked with him on several projects.”