It’s mime time in London. The new year is always ushered in by a motley of theatrical varieties, from puppets and acrobats to illusionists and mimes - it’s certainly an up-and-down ride in the London International Mime Festival. It began this week with an up in the shape of a spooky children’s puppet show based on Edgar Allan Poe and a down in the tale of an office invaded by wildlife.

It’s mime time in London. The new year is always ushered in by a motley of theatrical varieties, from puppets and acrobats to illusionists and mimes - it’s certainly an up-and-down ride in the London International Mime Festival. It began this week with an up in the shape of a spooky children’s puppet show based on Edgar Allan Poe and a down in the tale of an office invaded by wildlife.

The Breton capital Rennes is an attractive city. Move north from the train station, pass through a covered market with tripe and saucisse sellers, cross a canal and there's a series of Italianate squares and arcades. Further along is the quaint Place St Anne and a warren of medieval streets lined with half-timbered buildings. It’s an inspiring cityscape. But for three days every December, the city is crammed with revellers and dogs on string who couldn't give a fig about the medieval cathedral. They're here for the Trans Musicales de Rennes, the annual musical jamboree.

A startling one in 10 British adults apparently went to a music festival this year. Given that I’m a music journalist and I didn’t, maybe I’m some kind of astronomically unlikely anomaly. I’d like to think so. But those familiar aerial shots of Glastonbury – not just a few fields but a sizeable expanse of Britain’s patchwork-quilt landscape, completely overrun by an infestation of teeming humanity - is enough to make me feel smugly sane to have decided, as usual, to just remain cosily at home watching whatever the BBC had decreed were the best bits.

Roman Polanski’s The Ghost won five of the seven European Film Awards it was nominated for last night. It was a display of the sort of sentimental herd mentality familiar from the Oscars which the European Film Academy’s voters like to feel they are better than. Polanski himself loomed from the big screen via Skype, kept from the ceremony in Estonia’s capital by the US arrest warrant which was surely the reason for the Academy’s largesse. The director looked down on the spectacle from his book-lined study with an unlined, unmoving face, detached by more than geography, a man who had seen much better and worse in his time.

Luxembourg's musical landscape has few claims to represent the Grand Duchy itself. Most of Luxembourg's Eurovision entries weren't actually from the Duchy, as there was little local music to draw on. So Belgium's cod punk-gone-blando Plastic Bertrand became 1987's entry (with “Amour, Amour”). In 1965 Luxembourg won Eurovision with France's France Gall's “Poupée de Cire, Poupée de Son”, a song written by her countryman Serge Gainsbourg.

Cider, bulls and a beautifully restored cathedral which hosts the annual Three Choirs Festival are probably the key elements used to brand Hereford. But for 20 years, the city has also been home to the UK’s first photography festival. This month, its anniversary is being celebrated in several venues with the focus on Twenty, an exhibition at the charmingly old-fashioned Museum and Gallery where 20 significant photographers share wall space with a gigantic stuffed pike.

Nobody really knows what CMJ stands for, but then few of New York’s residents know of the five-day music festival’s existence either. Involving more than 1200 bands and 75 cross-borough venues, CMJ is for the real music fans - dare I say, geeks even - as the smallest, newest and most unlikely of musical acts enjoy the opportunity of a truly open platform for industry professionals, bloggers and downtown hipsters’ appreciation alike. Closest comparisons include the Edinburgh Fringe and Austin’s South By South West which happens in Texas every spring. But this is, after all, unique New York and CMJ is a truly NY event: non-stop and all night, featuring yellow cabs and mean door staff.

As the London Jazz Festival approaches, it's an unlikely fact worth noting that some of the bestselling instrumental jazz records of the last few years have been from Ethiopia. Ethiopian jazz composer Mulatu Astatke, now 66, is the best-known practitioner and enjoying an Indian summer. A key feature of the 2007 The Very Best of Éthiopiques compilation, once heard his music is not easily forgotten.

In National Anthem, the debut play by bestselling novelist Colin Bateman, a composer lies prostrate on the floor. Half hungover, half waiting for inspiration, he has been commissioned to co-write an anthem for Northern Ireland with a poet and has a day to do it before flying back to his continental tax haven. The ad-hoc alliance soon fractures as differences emerge. One is Catholic, passionate and pretentious, one has sold his Protestant soul to MOR rock and platinum sales. Can the two sides work in harmony?

The music of Sibelius might speak of Finland, its unpopulated spaces, vast inland lakes, semi-Arctic climate and long, dark nights, but the annual Lost in Music festival brings together a bewildering array of Finnish bands and singers that range from rockabilly and ska to introspective folk and – of course, the national staple – heavy metal.