Published on: 12th January 2026
Authored By: Ayesiga Alvin Aryabaha
MAKERERE UNIVERSITY, UGANDA
ABSTRACT
The rapid expansion of internet access across the global has coincided with a significant resurgence of online piracy involving books, films, music, academic materials and other creative works[1]. Armed and enabled by cutting edge smartphones and international Virtual Private Networks, weak enforcement mechanisms and limited availability of affordable legal alternatives, digital piracy has become embedded in everyday content consumption. This article examines the forms and drivers of this resurgence and assesses its economic, professional and structural impacts on Ugandan creators. Some of the findings indicate substantial revenue losses, reduced incentives for creative investment, distortion of legitimate distribution channels and reputational risks for creators. I propose, through this paper, that effective mitigation requires a balanced, multi-faceted strategy that combines legal reform, strengthened institutional capacity, better legal access to creative content, public education and collaborative agreements with online platforms and telecom operators.
INTRODUCTION
In the last two decades, the production, distribution and consumption of creative works have been transformed by the internet and its universal access to anyone with a smartphone and mobile data[2]. That transformation has brought enormous opportunities for writers, filmmakers, musicians and publishers to reach new audiences – but it has amplified an old-age problem: piracy. Recent years have seen a marked resurgence in the online piracy of books, films, music and other copyrighted works. This online indiscipline has been powered by more affordable smartphones, expanding mobile data networks, porous enforcement and social platforms that make it easy to illegally copy and redistribute creative content. The result is a complex ecosystem in which creators and legitimate publishers face escalating economic and reputational harms even as consumers enjoy unprecedented, unlimited and free access.
WHAT RESURGENCE LOOKS LIKE IN UGANDA
Piracy in Uganda has never been new. There are photocopied textbooks at almost every printery in the country, bootleg compact discs with illegally copied music and movies in video libraries and illegally procured books and novels sold with impunity on mats along busy roads in the capital, Kampala. Internet-enabled piracy now spans unauthorized streaming of TV channels, films and sports, adulteration of content by ‘translating’ it, a crude form of dubbing[3]; file-sharing and download sites that offer cracked e-books and scanned textbooks; online marketplaces and social platform distribution that circulate copyrighted content in record time like WhatsApp. Local press and industry actors attribute large revenue losses to piracy, and broadcasters and TV operators report significant illegal re-transmission of their channels online. For example, investigations and sector commentary in recent years have pointed to substantial losses to broadcasters and the wider creative sector from live-stream piracy and illegal re-broadcasts[4].
DRIVERS OF THIS RESURGENCE
There are several drivers of this resurgence, some of which are explained below;
Wider internet access and affordable smartphones. Cheaper and more available mobile broadband penetration and inexpensive Android devices[5] mean many Ugandans can now consume content such as video and music on phones — and phones are the primary vector for piracy. This wider internet access is being actively pursued through government initiatives such as the Uganda Digital Acceleration Project.
Free social distribution. Platforms like WhatsApp, Facebook, Telegram and TikTok enable rapid redistribution at essentially no cost. A single viral post or group share can put a movie, book PDF or album into thousands of hands in a short time.
Weak digital payment and distribution infrastructure for legal content. Where legitimate digital distribution is costly, poorly localized, or requires foreign payment methods, consumers turn to free illegal alternatives. Local publishers and distributors have struggled to offer intuitive, affordable digital storefronts and licensing options for Ugandan consumers. Further, there are platforms that are still inaccessible in the region that leads consumers to find other means of procuring entertainment.
Gaps in enforcement and awareness. While Uganda has laws and enforcement bodies, gaps in capacity, inconsistent prosecutions and low public awareness of digital copyright norms mean piracy is perceived as low-risk. URSB, UCC and the Uganda Police have enforcement initiatives but face resource and coordination challenges.
Economic pressure. High poverty and constrained household incomes mean many people prioritize free access. For students, the need for affordable textbooks is a recurrent justification for seeking or sharing scanned copies. Academic research has documented uncontrolled photocopying and online sharing of textbooks and theses in higher education, linking these to lost revenue and diminished incentives for authors.
LEGAL LANDSCAPE
Uganda’s principal statute on copyright is the Copyright and Neighbouring Rights Act[6]. This Act provides the framework for forms of copyright and their protection, but enforcement and practical application have been challenging in the digital age. The Ugandan Registration Services Bureau has an enforcement unit that works with security forces to tackle counterfeit goods and piracy. Government entities such as the Uganda Communications Commission (UCC) and the Uganda Law Reform Commission have periodically reviewed and proposed updates to strengthen enforcement and adapt the law to online realities. Yet stakeholders routinely point to gaps that blunt the law’s deterrent effect such as digital takedown procedures, technical expertise and inter-agency co-ordination.
Internationally, publishers and rights holder can rely on takedown requests to platforms but sadly the process is uneven: platforms vary in responsiveness and some operators deliberately host content in jurisdictions that frustrate enforcement. Additionally, many piracy actors and beneficiaries use encrypted or private channels or VPNs that mask their true locations which complicates detection.
EFFECTS OF PIRACY
The effects of rampant online piracy are multi-dimensional, spanning economic, social and even political as well as often being cumulative. Some of them include;
Loss of revenue and market structure. The most obvious impact is foregone sales. Publishers rely on book sales and licensing for revenue that covers editorial work, printing, distribution and payments to authors. On authors, the intention of writing or creating is to be able to benefit from their creativity. Piracy robs them of that financial benefit[7]. When textbooks, novels or academic works are widely available for free online, legitimate sales shrink. Similarly, filmmakers and musicians lose income from direct sales, streaming revenue and licensing.
Reduced Incentives to Create and Invest. Authors and publishers operate in a risk–reward framework. If returns are undermined by piracy, authors may be less likely to invest time in long-form writing or research, and publishers may avoid financing risky or niche projects. For the publishing ecosystem, this can translate into fewer new titles, less investment in editorial quality and diminished support for emerging writers. Long-term, this impacts on the art a community is able to advertise to the world for a price.
Distortion of Distribution or Pricing Models. Widespread availability of pirate copies forces publishers to rethink pricing and distribution strategies. While lowering prices or offering cheaper digital editions can be part of the solution, those strategies produce thinner margins and may still not compete with free illegal copies. Publishers also face an uneven playing field: legitimate firms that pay for licensing and taxes are undercut by informal operators who sell pirated copies with minimal overhead. Further, the data of outreach is skewered by the illegal sales made which, in most chances, are more than the formal sales.
Possible Damage to Reputation. Pirated works can circulate in edited or low-quality forms, harming an author’s reputation. Unauthorized translations or editions may be poor, and plagiarized versions of academic texts can harm credibility or spread false information which the pirates have added after adulterating the work[8]. Furthermore, piracy complicates relationships with international partners and distributors worried about intellectual property protection, potentially reducing foreign investment and cross-border collaborations.
Impact on Education and Scholarship. Textbook piracy is a nuanced harm. On one hand, illegal distribution sometimes increases access for students who cannot afford original texts; on the other, it undermines publishers’ ability to invest in updated and localized academic materials. Studies in Uganda have documented widespread photocopying and scanning that deprive textbook authors and educational publishers of revenue, which in turn discourages the production of high-quality, locally relevant academic materials, but once again, students and others who badly need the content of those books benefit to galactic levels.
CARRIERS OF THE BURDEN
Positively, not all creators are affected equally by piracy. Large commercial film producers or international rights holders can absorb losses or pursue intense cross-border enforcement. Independent authors, small publishing houses, local filmmakers and scholars bear alarmingly disproportionate risk – they lack budgets, alternative revenue streams and market power. Women, early-career authors and creators of niche content are particularly vulnerable. The economics of their work often depends on modest but reliable sales that piracy can wipe out.
EXISTING RESPONSES AND THEIR LIMITS
Ugandan institutions and stakeholders have responded in several ways to the scourge of piracy.
Enforcement Actions & Seizures: The Uganda Registration Services Bureau and Police have conducted raids and seizures of physical counterfeit products and brought prosecutions in some cases. Such enforcement can deter street-level piracy but is less effective against online streams and encrypted sharing.
Regulatory Engagement: The Uganda Communications Commission engages broadcasters on piracy issues and the Law Reform Commission has pursued updates to copyright law to address digital challenges. Ongoing reviews and proposed amendments that are in discussion aim to modernize legal tools for effective and strict online enforcement[9].
Public Awareness Campaigns: Rights holders and industry associations occasionally run campaigns to raise awareness about piracy’s harms, but coverage and funding are uneven unfortunately.
Platform Takedowns & Rights-Management Tools: Rights holders issue takedown notices to social media platforms and hosting services; some use digital watermarking and content-identification technologies. However, compliance varies and speed of re-uploads often outpaces takedowns. For example, in 2021, the true power of the Uganda Communications Commission was revealed when it shut down the internet for 3 days.
The limits from these attempts are clear: takedowns are reactive and not preventative, enforcement is resource-intensive and often focus on symptomatic actors rather than platforms enabling mass redistribution. Legal reform proposals are promising but have been slow-moving and technical solution can restrict legitimate uses and raise access concerns.
POLICY AND COMMERCIAL RECOMMENDATIONS
Combating internet piracy while preserving access and freedom online requires a balanced multi-pronged strategy. Having discussed the problems plaguing financial benefit of copyrighted content and the attempts by agencies to tackle piracy, I now present my own recommendations to handle this matter head-on.
Modernize the legal framework with digital-first tools. Update the Copyright and Neighbouring Rights Act (2006) to include clearer digital enforcement mechanisms: streamlined notice-and-takedown procedures, stronger cross-sector cooperation protocols, and proportionate criminal and civil remedies tailored to online infringements. Law reform should safeguard fair use and educational exceptions while enabling efficient enforcement.
Strengthen institutional capacity and coordination. Provide URSB, UCC and police with specialized cyber-IP units, technical tools for digital investigations, and regular training. Establish a multi-stakeholder anti-piracy task force that includes rights holders, platforms, ISPs and consumer groups.
Make legal access more attractive. Publishers and rights holders should collaborate on affordable, locally adapted distribution channels — e.g., low-cost mobile-friendly ebook platforms, bundled licensing for institutions, and pay-per-view or micro-payment models suitable for the Ugandan market. Partnerships with telecoms to offer sponsored zero-rated access to licensed content (sensitively and legally structured) may shift consumer behavior away from piracy.
Invest in public education. Broader campaigns that explain the economic and cultural costs of piracy — targeted to students, schools and informal retail networks — can help change social norms. Education should be paired with practical alternatives (where to buy or stream legally).
Work with platforms and ISPs. Negotiate voluntary agreements with social platforms for rapid takedowns, and with ISPs for notice-and-educate frameworks. Where necessary and proportionate, court orders or administrative measures to disable persistent commercial piracy sites can be pursued, mindful of free expression principles.
Support creators with alternatives and resilience. Grants, crowdfunding support, and capacity-building for marketing and rights-management can help small creators diversify income (e.g., live events, sponsorship, commissioned work).
ETHICAL CONSIDERATIONS
Policy designers must balance enforcement with access. Heavy-handed removal mechanisms risk collateral censorship and can reduce access to legitimately shared educational materials. The response should be calibrated: prioritize commercial, organized piracy operations while protecting fair and personal use, education, and research, which are exceptions to infringement in the Copyrights and Neighbouring Rights Act.
Policies should also address the root drivers of piracy: poverty, lack of affordable legal supply and limited digital payment options. Measures that merely punish consumers without offering viable alternatives risk being ineffective and unjust.
CONCLUSION
The internet’s capacity to connect readers, viewers and listeners to the works they want is a transformative opportunity for Uganda’s creative sector but the same technologies have re-energized content piracy on unprecedented levels in ways that threaten livelihoods of creators, authors and publishers. The harms are tangible through lost revenues, reduced incentives, distorted markets and undermining professional creative eco-system. Uganda already has laws, agencies and initiatives tasked with tackling piracy and there are promising signs of review but most of these are reactive, not preventative. Further, to be more effective, these methods have to be modern, pragmatic tailored to the needs of both creators and consumers. This has to be through updating legal tools for the digital age, building institutional capacity and forging partnerships among publishers, creators, platforms and telecommunication companies. Only through a balanced strategy that combines enforcement, smarter licensing, technological solutions and education can creators and publishers thrive while Ugandans continue to enjoy broad access to culture, art and knowledge.
BIBLIOGRAPHY
Copyright and Neighbouring Rights Act, Cap 222, 2006
MUSO, ‘2024 Piracy Trends & Insights,’ May, 2025
Sarah Kaddu et al, ‘Examining Uganda’s Legak and Institutional Framework in Curbing Book Piracy,’ Ghana Library Journal 2022, Vol. 27 (1)
The Independent, ‘Content Piracy Undermining Africa’s Ability to Tell its Own Stories,’ November 24th, 2023 < https://www.independent.co.ug/content-piracy-undermining-africas-ability-to-tell-its-own-stories/>
Byamutaraki Musinguzi, ‘Pirated Content Hits Local Creatives Where It Hurts’ Daily Monitor (April 26th, 2025)
Fiona Luboga, ‘Uganda’s Journey of Progress and Digital Transformation Since Independence,’ The Observer, September 5th, 2024 < https://ict.go.ug/media/articles/ugandas-journey-of-progress-and-digital-transformation-since-independence>
Observer Reporter, ‘How VJs Translate, Spice Up Movies to Bring Hollywood Closer to Ugandans,’ July 18th, 2025 < https://observer.ug/lifestyle-entertainment/how-vjs-translate-spice-up-movies-to-bring-hollywood-closer-to-ugandans/>
Rinaldi Jamugisha, ‘Rising Challenge of Content Piracy in Uganda’s Entertainment Landscape,’ The Observer, July 3rd, 2024 < https://observer.ug/viewpoint/rising-challenge-of-content-piracy-in-uganda-s-entertainment-landscape/>
Tumwebaze Phiona, ‘Research Report: The Effectiveness of Copyright Law in Protecting Authors’ Rights in the Digital Era,’ 2024
[1] MUSO, ‘2024 Piracy Trends & Insights,’ May, 2025
[2] Tumwebaze Phiona, ‘Research Report: The Effectiveness of Copyright Law in Protecting Authors’ Rights in the Digital Era,’ 2024
[3] Observer Reporter, ‘How VJs Translate, Spice Up Movies to Bring Hollywood Closer to Ugandans,’ July 18th, 2025 < https://observer.ug/lifestyle-entertainment/how-vjs-translate-spice-up-movies-to-bring-hollywood-closer-to-ugandans/>
[4] Rinaldi Jamugisha, ‘Rising Challenge of Content Piracy in Uganda’s Entertainment Landscape,’ July 3rd, 2024 < https://observer.ug/viewpoint/rising-challenge-of-content-piracy-in-uganda-s-entertainment-landscape/>
[5] Fiona Luboga, ‘Uganda’s Journey of Progress and Digital Transformation Since Independence,’ September 5th, 2024 < https://ict.go.ug/media/articles/ugandas-journey-of-progress-and-digital-transformation-since-independence>
[6] Copyright and Neighbouring Rights Act, Cap 222, 2006
[7] Byamutaraki Musinguzi, ‘Pirated Content Hits Local Creatives Where It Hurts’ Daily Monitor (April 26th, 2025)
[8] The Independent, ‘Content Piracy Undermining Africa’s Ability to Tell its Own Stories,’ November 24th, 2023 < https://www.independent.co.ug/content-piracy-undermining-africas-ability-to-tell-its-own-stories/>
[9] Sarah Kaddu et al, ‘Examining Uganda’s Legak and Institutional Framework in Curbing Book Piracy,’ Ghana Library Journal 2022, Vol. 27 (1)
