The Mediterranean’s massacres of the refugee innocent come uncomfortably close to a lone female sailor in this stark parable of European helplessness and indifference.

Oumou Sangaré is not a woman to be trifled with – tales of people who have crossed her and lived to regret it abound: one story (of many) has her personally hiring a bulldozer in a land dispute and getting a recalcitrant local official sacked. She looked super-glamorous at Earth in a white dress and blue nails, and her backing singers looked and sounded ravishing in vertiginous heels and 70s hairdos.

The Williams brothers (The Missing, Liar, Rellik, Baptiste) are back.

Damn exotica.

Tinariwen and others have made taken the haunting sonorities and lolloping camel rhythms of the Sahara far and wide. Kel Assouf are the next wave, more deeply soaked in the rock energy of bands like Led Zeppelin, Black Sabbath or Queens of the Stone Age.

On Drums was inhabited by a parade of fine-looking young and middle aged multi-ethnic anglophone drummers, all introduced by Stewart Copeland, the American drummer of the Police. In vintage film and contemporary interviews his chosen musicians seemed almost invariably fit and trim whatever the substances ingested in the past.

Wow! First, the Black Panther team took cinema by storm; now, they have conquered theatre as well. Or, at least, two of them have. The Convert has been written by actor and playwright Danai Gurira (Okoye), and stars Letitia Wright (Shuri).

The latest in Peter Culshaw’s occasional updates in the best of new global music features unreleased tracks from forthcoming autumn releases and re-releases dug up by eccentric crate-diggers. Even more lunatically eclectic than usual we have some Somalian funk, Bollywood-meets-Sakamoto (Anchorsong - main picture), French Tango and Turkish psychedelia.

As writer and director, Hugo Blick has brought us two of the twistiest dramas in recent-ish memory (The Shadow Line and The Honourable Woman).

Until now, hearing the extraordinary “Ratidzo” was all-but impossible. The original single is rare and has not been reissued before. It begins with a plaintive whistle which sets the scene for a hypnotic and beautiful rotating pattern of single notes possibly played on a gamelan-style instrument. Rhythmic accompaniment comes from a form of shaker. It is not instantly possible to place where this music is from. Eastern Asia? Hawaii?