With his furious docu-essay I Am Not Your Negro, Raoul Peck caused a stir in 2016. The film about African-American writer James Baldwin and the Civil Rights Movement not only put the Haitian-born Peck on the map as a director, but also made him one of the defining figures of contemporary black cinema.

Most Brits don’t know much about South Africa today, but we do know about house values, so this new comedy by South African playwright and screenwriter Amy Jephta is comprehensible – even in its incoherent moments (of which there are several).

Rooted in South African electronic styles such as kwaito, amapiano and gqom, the music of Moonchild Sanelly also shows a rich in awareness of US and European hip hop and pop.

I thought I might never be able to say it’s been a great year for women artists, so forgive me for focusing solely on them.

“The street I grew up in had no name and is in a country that no longer exists,” director Milisuthando Bongela begins her meditation about growing up in Transkei, a semi-fictional black nation which helped facilitate apartheid yet felt like a utopia.

“Bold, ambitious, and good for the sector.” So said Charlotte Moore, the BBC chief content officer, who currently earns £468,000, in March last year as she defended plans to close the BBC Singers as part of a package of swingeing musical cuts masked – as usual – as a high-principled strategic rethink.

Born in Cape Town in 1948, Gavin Jantjes grew up under apartheid. He openly criticised the regime in his work and, forced into exile, was granted political asylum in Germany in 1973.

The Bull And The Lion was originally released in 1976 by Jo'burg, a South African label which opened-up for business in 1973 with a couple of singles and the first album by black singer Margaret Singana. Her debut LP was titled Lady Africa. The same year, the imprint issued the second single by Rabbitt, a white pop-rock band whose guitarist Trevor Rabin became internationally known when he played with Manfred Mann and then joined Yes.

It was good of the EFG London Jazz Festival to support this concert and bring in a different audience from the one the LSO is used to. But how to define it? Jazz only briefly figured in works by Gary Carpenter, Bartók, Barber and Abel Selaocoe. The only category would seem to be All Things Vital and Dancing. Anyone who’d come just for the phenomenal South Africa-born cellist, singer and composer must have been riveted by the rest, too.

Movie Blu-rays and DVDs brim with superficially engaging extras that frequently fail to illuminate the main attraction. The opposite is true of Cry, the Beloved Country, which has been restored in 4K and newly released in StudioCanal’s Vintage Classics series of British films. The disc’s extras have been carefully chosen to contextualise Zoltán Korda’s potent 1951 drama as the first film to condemn apartheid.