Hotep Idris Galeta, the South African jazz pianist, who died last Friday in Johannesburg (of an asthma attack), was a another member of South Africa’s greatest generation of jazz musicians that have passed on in the last year (others: Robbie Jansen and Ezrae Ngcukana. The jazz historian Vincent Kolbe also passed.)  Born Cecil Barnard in Cape Town in 1941, Galeta started playing as a youth. He became friends with another pianist, Abdullah Ibrahim, at a high school musical event. Ibrahim, slightly older, became his mentor. After making a name for himself on the local circuit, he left for the United States in the 1960s (where he changed his name to Hotep Galeta), played at Woodstock, was in bands with Jackie McLean, Rene McLean, Archie Shepp, Herb Alpert, among others). In the late 1970s he formed a band with Hugh Masekela and Rene McLean.  He eventually returned to South Africa in 1991, taught music at the University of Fort Hare in the Eastern Cape, and performed widely. Reflecting on Galeta’s passing, Rene McLean wrote on his Facebook page: “… It would not be an overt exaggeration of facts to state that Hotep is one of the most important and innovative pianist and composers to emerge from South Africa.  At the same time, it must be stated and realized that Hotep’s significance and contributions to South Africa’s musical culture have yet to be fully realized and acknowledged.”

I would recommend buying Galeta’s albums Malay Tone Poem and the less well known “The Tempest,” an album of 11 piano solos, to get a sense of his musical genius. RIP.–Sean Jacobs

Further Reading

After the uprising

Following two years of mass protest, Kenya stands at a crossroads. A new generation of organizers is confronting an old question: how do you turn revolt into lasting change? Sungu Oyoo joins the AIAC podcast to discuss the vision of Kenya’s radical left.

Redrawing liberation

From Gaza to Africa, colonial cartography has turned land into property and people into populations to be managed. True liberation means dismantling this order, not redrawing its lines.

Who deserves the city?

Colonial urbanism cast African neighborhoods as chaotic, unplanned, and undesirable. In postcolonial Dar es Salaam, that legacy still shapes who builds, who belongs, and what the middle class fears the city becoming.

Djinns in Berlin

At the 13th Berlin Biennale, works from Zambia and beyond summon unseen forces to ask whether solidarity can withstand the gaze of surveillance.

Colonize then, deport now

Trump’s deportation regime revives a colonial blueprint first drafted by the American Colonization Society, when Black lives were exiled to Africa to safeguard a white republic.

On Safari

On our annual publishing break, Gaza’s genocide continues to unfold in real time yet slips from public grasp. This is not just a crisis of politics, but of how reality is mediated—and why we must build spaces where meaning can still take root.

The battle over the frame

As Hollywood recycles pro-war propaganda for Gen Z, Youssef Chahine’s ‘Djamila, the Algerian’ reminds us that anti-colonial cinema once turned imperial film language against its makers—and still can.

Fictions of freedom

K. Sello Duiker’s ‘The Quiet Violence of Dreams’ still haunts Cape Town, a city whose beauty masks its brutal exclusions. Two decades later, in the shadow of Amazon’s new development, its truths are more urgent than ever.

When things fall apart

Against a backdrop of global collapse, one exhibition used Chinua Achebe’s classic to hold space for voices from the Global South—and asked who gets to imagine the future.

The General sleeps

As former Nigerian president Muhammadu Buhari’s death is mourned with official reverence, a generation remembers the eight years that drove them out.