Pop went the easel, and more, as we were offered a worldwide tour – New York, LA, London, Paris, Shanghai – of the art phenomenon of the past 50 years (still going strong worldwide). We were led by a wide-eyed interlocutor, the bright-eyed and bushy-tailed Alastair Sooke, to the throbbing beat of – what else? – pop music, Elvis and much else besides.

It is an axiom of Israel Galván criticism to say the Spaniard is wired differently. He's the "Bowie of flamenco" - leggy and intense, unpredictably sparky, intemittently brilliant, and sometimes incomprehensible. His new show, Lo Real/Le Réel/The Real which had its UK premiere at the Edinburgh International Festival last night is about gypsies under Nazism and in the Holocaust, but it approaches its subject in an impressionistic, roundabout way that during the performance feels a lot more like a journey into Israel Galván's oddball consciousness than a history lesson.

Yet another full Proms house sat down, and of course stood, for a rather strange six course meal which turned out not quite what the menu had led us to anticipate.

In his memoir As I Remember Arthur Bliss is reticent about his experiences on the Western Front. He describes his “purely automatic” impulse to enlist in August 1914, and later recounts the nightmares that troubled his sleep for a decade after the Armistice. He barely touches upon the injury that felled him on the first day of the Somme, the experience of being gassed late in 1918, or indeed the death in battle of his beloved younger brother Kennard – describing an unending sense of loss in a single paragraph.

London, 1905. For the Stephen siblings, setting up an independent household in Bloomsbury freed them – especially the sisters, Vanessa and Virginia – from Victorian familial conventions. It resulted in a heady mix of creative endeavour and endless conversation, especially about sex. As some wit commented, the Bloomsbury set was to be found living in squares, loving in triangles and talking in circles.

A packed Albert Hall told an instructive story: programme Holst’s The Planets at the Proms and you can dare to do anything in the first half. Besides, though it will be a red letter day when we don’t have to put “women” in front of “conductors”, the Marin Alsop Last Night effect may have kindled interest in Susanna Mälkki, top of a still too-small list from the two concerts I’ve heard her give with the BBC Symphony Orchestra.

The most celebrated reportage to come out the Vietnam War was Michael Herr’s Dispatches, rightly acclaimed as the most visceral journey into the dark heart of America’s first military defeat. But unlike all wars before it, Vietnam was a genuinely visual conflict, brought into the homes of the public via television and photojournalism. And among its most accomplished witnesses were two British photographers. The one everyone has heard of is Don McCullin, but his work was matched picture for picture by the Magnum photographer Philip Jones Griffiths.

Kafka and Jones, the names above this little shop of horrors, would be a marriage made in off-kilter theatreland had the Czech genius written any plays. He didn’t, so Nick Gill has made a well-shaped drama out of the assembled fragments of which The Trial consists.

One of the earliest surviving sculptures by Barbara Hepworth is a toad made from a khaki-coloured, translucent stone; you can imagine it cool and heavy in your hand, not so very different from the animal itself, in fact. Made nearly 30 years later, the monumental sculptures carved from African guarea wood are almost unbearably touchable, each one with its dark, glossy exterior cracked open to reveal an inside as creamy as a conker. But while we are denied the pleasure of touching these objects, looking at Hepworth’s work is in itself a gloriously tactile experience.

Music-lovers outside Denmark will have come to know Carl Nielsen (1865-1931) through his shatteringly vital symphonies as one of the world-class greats, a figure of light, darkness and every human shade in between. For Danes it is different: since childhood, most have been singing at least a dozen of his simpler songs in community gatherings, probably without even knowing the name of the composer.