In the fast-evolving landscape of international relations, mastering the art of public diplomacy has become increasingly crucial. The University of Ottawa’s Mastering Public Diplomacy course stands out as a beacon for diplomats and individuals eager to hone cutting-edge techniques in the realm of modern international affairs.
The course offers a comprehensive exploration into the realm of the “new diplomacy” – public diplomacy, where the focus extends beyond traditional state-to-state interactions to encompass the vital relationship between public diplomats and civil society in the receiving state. Over the 12-hour duration, participants delve deep into the intricacies of this evolving field, gaining valuable insights into effective communication strategies and hands-on skills development.
One of the course’s key objectives is to equip participants with the knowledge and tools needed to implement public diplomacy projects under a cost-effective policy. This approach is particularly relevant in today’s global context, where resource optimization is paramount, and swift, impactful strategies are essential for success.
Through a combination of storytelling and practical exercises, participants not only understand the theoretical foundations of public diplomacy but also learn how to apply this knowledge in real-world scenarios. The emphasis on storytelling is especially noteworthy, as it aligns with the contemporary trend of using narratives to shape public opinion and build meaningful connections with diverse audiences.
An innovative aspect of the Mastering Public Diplomacy course is its recognition of the increasing role of locally engaged staff (non-diplomats) in public diplomacy departments. Participants gain valuable insights into why these individuals are becoming integral to the functioning of diplomatic missions and international organizations. This understanding allows diplomats and professionals to navigate the evolving landscape of public diplomacy with agility and adaptability.
The course caters to a diverse audience, including diplomats, diplomatic schools from ministries of foreign affairs, civil servants, journalists, international communication professionals, academics in diplomacy or international relations, staff from international organizations, the military, multinational corporations, the private sector, NGOs, and the civil society in general. This broad spectrum ensures a rich exchange of perspectives and experiences, enhancing the overall learning environment.
In a concise 12-hour timeframe and by bridging theory with practical skills, the course empowers individuals to navigate the complexities of modern international relations, fostering a new generation of public diplomats who are ready to face the challenges of our interconnected world.
OpenAI, the organization behind the creation of ChatGPT, recently faced legal action from the New York Times, alleging the unauthorized use of millions of articles and a violation of intellectual property law. In response, OpenAI addressed the issue during a presentation before the British Parliament, emphasizing the challenges posed by the diverse nature of data sources.
OpenAI, in collaboration with Microsoft, asserted that it is “impossible” to develop advanced AI models without incorporating materials protected by copyright law. The organizations contended that copyright coverage extends to a broad spectrum of human expressions, ranging from blog posts and photographs to forums, software code snippets, and government documents. They argued that constraining AI training data to sources from 50 years ago or limiting it to public domain materials would be impractical and insufficient for meeting the demands of contemporary society.
“Copyright today covers virtually every type of human expression, including blog posts, photographs, snippets of software code, and government documents. It would be impossible to train leading AI models without using protected materials,” explained OpenAI.
Additionally, OpenAI is currently facing legal challenges from prominent authors, such as George R.R. Martin, John Grisham, and Jonathan Franzen, who allege that their works were used by the company to train its algorithms. The lawsuit highlights the ongoing tension between the necessity of using copyrighted material for AI training and the concerns raised by content creators regarding unauthorized use of their intellectual property.
As the legal battle unfolds, the outcome will likely shape the future landscape of AI development and the boundaries between innovation and intellectual property rights.
Lithuania’s contribution will support OPCW in implementing its mandate related to the Syrian Arab Republic
THE HAGUE, Netherlands—21 December 2023— The Government of the Republic of Lithuania has voluntarily contributed €10,000 to the Trust Fund for Syria Missions of the Organisation for the Prohibition of Chemical Weapons (OPCW).
The contribution will be used towards the full elimination of the Syrian Chemical Weapons Programme as well as establishing facts surrounding the alleged use of chemical weapons in Syria, in accordance with the Chemical Weapons Convention, relevant decisions of the policy-making organs of the OPCW, and resolutions of the United Nations Security Council.
The voluntary contribution was formalised on 19 December 2023 in a signing ceremony held between the Ambassador, Permanent Representative of the Republic of Lithuania to the OPCW, H.E. Mr Neilas Tankevičius, and the OPCW Director-General, Ambassador Fernando Arias, at the Organisation’s Headquarters in The Hague.
Lithuania’s contribution will support OPCW
“Lithuania commends the important work of the OPCW and will continue supporting key activities of the Organisation. With this voluntary contribution, we are pleased to assist the OPCW’s pivotal work in the Syrian Arab Republic,” said Ambassador Tankevičius.
“We will continue to support the Organisation through active engagement in the Executive Council from 2024 to 2026,” he added.
The Director-General stated: “I express my sincere appreciation to Lithuania for its financial and political support to the OPCW’s mission to permanently eradicate chemical weapons. This contribution will help the OPCW to continue its critical work in Syria to ensure that the norms and principles of the Chemical Weapons Convention are upheld.”
8 of January, 7th and 9th of February, 2024 Special series of Events by the Embassy of Panama
The Ambassador of Panama, H.E. Ms. Elizabeth Ward Neiman, started a unique national promotional program under the theme of Panama National Dress, “La Pollera”. With a small population of only 4.2 million inhabitants, the central American nation is invariably proud of having what is considered to be one of the most beautiful and costly national dresses in the world and ambassador Ward decided to share it with the Dutch society.
Panama is known primarily for its mix of races and exuberant nature; its rich gastronomy; its ultramodern city and historic center; as a top international business and finance center; and as an air, maritime and digital hub leading to an internationally well-known logistic center being one of the best-connected countries in the world. Less known is that it is one of the three carbon negative countries in the world.
Carolina Ward Bothmann in a Pollera de Gala and H.E. Ms. Elizabeth Ward Neiman, Ambassador of Panama at the Panamenian Chancellery.
Sheyla Karman in a Pollera Montuna, H.E. Ms. Madeleine Liguemoh Ondoua, Ambassador of the Republic of Cameroon, H.E. Ms. Marisol Aguero Colunga, Ambassador of the Republic of Peru, H.E. Mr. Mario Oyarzabal, Ambassador of the Argentinian Republic, H.E. Ms. Sahar Ghanem, Ambassador of the Republic of Yemen and Dean of the Diplomatic Corps, the host H.E. Ms. Elizabeth Ward Neiman, H.E. Mr. Agustin Vásquez Gómez, Ambassador of the Republic of El Salvador and Johanna Landman, in a Pollera de Gala at the Instituto Cervantes of Utrecht.
During each event, H.E. Ms. Elizabeth Ward Neiman is delivering a presentation on ´The Pollera’, the traditional national dress of Panama, worn by women primarily during folkloric and cultural festivities to honour the Panamanian heritage and traditions.
The art of producing these hand-made dresses and transferred from one generation to the next, is making a comeback due to increased efforts by the government which are explained during the presentations. It takes several years and multiple artisans to make one of the gala polleras, thus making them very costly!
The pollera has undergone evolution throughout the years but its origin dates to the time of the Spanish conquest dating from the traditional Spanish peasant dress of the 16th and 17th centuries. “At that time, it was the women´s daily attire; very simple, normally white with floral embroidery and used in mild climates and areas such as in Andalusia with harsh climates in summer season. In Panama, the pollera, which translated means “skirt”, refers to the set of shirt and skirt and is used in festivities denoting nationalism and folklore as well as on special occasions.” explained Ambassador Ward to the attendees.
Sheyla Karman in a Pollera Montuna, H.E. Ms. Madeleine Liguemoh Ondoua, Ambassador of the Republic of Cameroon, H.E. Ms. Marisol Aguero Colunga, Ambassador of the Republic of Peru, H.E. Mr. Mario Oyarzabal, Ambassador of the Argentinian Republic, H.E. Ms. Sahar Ghanem, Ambassador of the Republic of Yemen and Dean of the Diplomatic Corps, the host H.E. Ms. Elizabeth Ward Neiman, H.E. Mr. Agustin Vásquez Gómez, Ambassador of the Republic of El Salvador and Johanna Landman, in a Pollera de Gala.
There are 28 varieties depending on the region where it is made. The style of pollera would determinate the type and quantity of jewelry and hair pieces worn, which can range from fresh flowers and wooden beads to extravagant tembleques and numerous gold chains. “The more casual pollera, the Pollera Montuno, referring to the mountains where the women would come from, is plainer and straighter and is made from a certain type and quantity of inexpensive fabric. There are several types of montuno polleras. They are used during the carnival, folkloric parades and rural events like the rice shelling,” she explained while a model walked to the scenario to demonstrate it.
The Pollera Congo, originated among the slaves and black women that were dependent on fabric scraps to make their clothing resulting in a colorful mix of plain and printed designs sewn together in geometric patterns. Added, were fresh or dried flowers as hair ornaments and jewelry made out of a variety of beads or wood. The fancier, Pollera de Gala, also has several varieties. One is the totally white dress and used on very special occasions, such as weddings. However, the maximum plus ultra is the Pollera de Gala Zurcida Calada. It is the most elaborated and costly of all polleras; hand made of imported fine white linen fabric and French or Belgian lace, with colored intricate unique embroidery with takes from three years and up to make it. Many artisans work together and combine their unique contributions before being stitched together to finalize the confection of the dress. The dress is enriched with braids and laces and the colors are chosen by the proud new owner as she orders her dream pollera.
An equally important part of the gala pollera are the head accessories called Tembleques (The term comes from the movement of the pistils of the flowers, as they should move when dancing). They are made of pearls, crystals, and other materials. Between 12 and 14 pairs of Tembleques, depicting flowers and garden animals, should be placed symmetrically on the women´s head depending on the size of the woman and the year the pollera was made. Gold jewelry, as well as matching colored motta, ribbon and shoes complete the full gala pollera dress.
While choosing the headdress adornments as well as the gold jewelry, certain rules must be respected to maintain the tradition of the pollera. There are specific types of gold earrings and other golden jewellery, consisting of seven to twelve gold necklaces each with a specific name and meaning holding different symbols of Catholicism, bracelets and rings.
Johanna Landman, in a stunning Pollera de Gala, H.E. Ms. Elizabeth Ward Neiman and Sheyla Karman in a charming traditional Pollera Montuna at the Instituto Cervantes of Utrecht.
The national parade, Desfile de las Mil Polleras, is organised every year in January by the Panama Tourism Authority to promote Panamanian cultural heritage through the pollera of each region, made by people dedicated during the year to the special artisanal work. This year it was celebrated on the 13 of January in the city of Las Tablas and it exceeded 20, 000 parading women in polleras and 250, 000 people in attendance.
After Ambassador Ward Neiman´s fascinating presentation, drinks and canapés were served.
HRWF (09.01.2024) – When Senegal goes to the polls to elect a President on 25 February 2024, it will be a crucial date with ramifications far beyond that country’s borders.
President Macky Sall’s decision not to stand for a third term bucks the trend in a region with leaders seeking to extend their hold on power. The Senegalese president’s announcement that he will not stand, and his instruction to his government to do everything possible to organise a transparent election, send a clear signal to his own people and also set the tone for other elections on the continent this year.
President Sall’s announcement was praised by neighbouring leaders, the African Union, the USA, and former colonial power France, whose foreign ministry said “Senegal is again delivering proof of the solidity of its long democratic tradition.” Certainly, Senegal is providing a welcome contrast to some other nations on the continent. With military rule in Burkina Faso, Guinea and Mali, plus Ivory Coast president staying in power in third term and Togo’s for a fourth, Senegal does seem a much needed beacon. A look at all mainland Francophone Africa’s countries sees Senegal standing out as truly democratic, with free elections, the transfer of power between opposing parties, and as we have seen with President Sall’s commitment not to stand, firm commitment to constitutional limits. The true test of democracy is the willingness to allow smooth transitions via free and fair elections.
Senegal’s February vote is one of several important African elections in 2024, including Mali, which is currently under military rule, South Africa, Ghana and Botswana. The international community will be looking to Dakar for an early indicator of how this year might look across the continent.
President Sall’s decision offers a firm foundation for Senegal’s future commitment to continued democracy protection of human rights. The international community should provide maximum support to Senegal as it goes to the polls, as the positive impact of that country’s smooth transition of power will echo across the continent. There should also be great vigilance regarding any foreign interference, especially from Russia, in Senegal’s February election campaign, as that too will have far-reaching ramifications.
On 20 December 2023, ISS’ latest MA graduates collected their diplomas during a heartfelt commemoration to conclude their academic journey.
During the ceremony, 108 students were awarded their degrees, while some graduates attended virtually from their home countries. The batch comprised students from almost 50 different countries.
Furthermore, two awards were presented at the ceremony. Dr Roy Huijsmans, Dr Karin Astrid Siegmann, and Dr Nanneke Winters received the Best Teacher Award for their exceptional facilitation. The Best Thesis Prizes were awarded to Conor Farrell, Joelle Vetter and Amanda Faria Oliveira for their high-quality research work.
The 2023 Best Student Essays booklet, ‘An Exercise in Worldmaking’, was unveiled at the ceremony. This booklet, available now for reading, features 26 essays showcasing students’ diverse perspectives and expertise.
Finally, the students took a moment to reflect on the mounting crises of the Israel-Palestine conflict. Their speeches called for solidarity, support and mobilization against injustices in Gaza—a powerful way to conclude their academic journey.
The Director of ILANUD Douglas Durán Chavarría, said: “The main objective of ILANUD has always been the advancement of the human rights approach, which is why a cooperation agreement such as the one now signed with the International Criminal Court is of the utmost relevance for ILANUD, given the outstanding work that the ICC carries out in this field. On the other hand, this new relationship with the ICC is also important for ILANUD because the strengthening of criminal justice systems is particularly relevant for this regional institute of the United Nations, given its special mandate in this area. Therefore, the agreement is an excellent opportunity to work together on issues of mutual interest.”
Through this agreement, the two institutions agree to cooperate closely and consult each other on matters of mutual interest. The institutions also intend to conduct training and assistance for their personnel on topics within their respective mandates, including evidence, judicial proceedings, protection of victims and witnesses and prison management.
Rwanda takes center stage at the prestigious Vakantiebeurs Tourism Fair in Utrecht, Netherlands, showcasing its diverse and captivating tourist offerings. The event, taking place from January 10 to 14, 2024, is a significant platform for Rwanda to connect with the BeNeLux market, comprising Belgium, Netherlands, and Luxembourg.
The Vakantiebeurs Tourism Fair is renowned as a premier travel fair, drawing exhibitors from over 100 countries. This year, Rwanda aims to leverage the event to build on the positive momentum of the tourism sector’s recovery, particularly in the Netherlands. After the setbacks caused by the COVID-19 pandemic in 2020, 2023 has emerged as an important year, witnessing a remarkable 75.3% recovery rate in tourist numbers from the Netherlands to Rwanda.
Visit Rwanda at Vakantiebeurs.
Ariella Kageruka, the Head of Tourism and Conservation at Rwanda Development Board, expressed excitement about the opportunity to showcase Rwanda’s attractions at Vakantiebeurs. She emphasized the importance of the BeNeLux market, highlighting it as a strategic source for leisure tourism.
The Vakantiebeurs Tourism Fair has a proven track record, with the previous edition attracting over 65,000 visitors throughout the 5-day event. With an estimated 65% of attendees expected to return for the 2024 edition, this provides a substantial audience for Rwanda to present its unique offerings.
Visit Rwanda is present at Vakantiebeurs.
Rwanda’s Ambassador to the Netherlands, H.E. Mr. Olivier J.P. Nduhungirehe, emphasized the country’s increasing popularity among adventure enthusiasts worldwide. He highlighted the diverse experiences awaiting tourists in Rwanda, such as kayaking on Lake Kivu or cycling the Congo Nile Trail. With the Netherlands being a nation where each person owns an average of 1.4 bikes, the ambassador sees this as an excellent opportunity to promote Rwanda’s cycling attractions.
H.E. Mr. Olivier J.P. Nduhungirehe In the middle, accompanied by his embassy team.
In addition to the presence of Visit Rwanda at the fair, various representatives from notable entities like Wanderlux Safaris, Blue Monkey Tours, Palast Tours & Travels, and RwandAir will participate in side events and networking sessions. These engagements are designed to foster connections with travel agents, tour operators, and potential travelers within the BeNeLux market.
Visit Rwanda, the tourism campaign of the Rwanda Development Board, aims not only to promote tourism but also to contribute to Rwanda’s economic development by facilitating private sector growth. Working in collaboration with conservation and tourism partners, Visit Rwanda strives to create unique tourist experiences while empowering local communities and supporting the conservation of natural ecosystems.
In a surprising turn of events, The New York Times has recently filed a lawsuit against OpenAI, the creator of ChatGPT, and Microsoft. The lawsuit, filed in the final week of December, alleges that OpenAI utilized millions of articles from The New York Times in training its artificial intelligence models.
The newspaper claims that this practice not only constitutes copyright infringement but also poses a direct threat as unfair competition to traditional media outlets. In the legal documents, The New York Times argues that OpenAI’s use of its articles is also illegal. The lawsuit suggests that by incorporating copyrighted material without proper authorization, OpenAI has breached intellectual property rights. Furthermore, the newspaper claims that the AI models developed by OpenAI serve as direct competition to traditional media, as they can generate content in response to user queries.
Generative Artificial Intelligence and Training Data
Generative Artificial Intelligence, such as ChatGPT, is trained using diverse data sources from the internet, including newspapers, novels, webpages, encyclopedias, and more. This comprehensive training approach allows the models to generate human-like text responses to a wide array of queries.
The Challenge of Copyrighted Content
One significant challenge faced by AI developers is the use of copyrighted material in the training data. As AI models are trained on vast amounts of information gathered from the web, it becomes challenging to ensure that all the data used is free from copyright restrictions. The New York Times lawsuit sheds light on this issue, focusing on the unauthorized use of its articles in the training process.
OpenAI’s Response
OpenAI, a leading organization in artificial intelligence research, has not remained silent on the matter. In their initial response, they acknowledged the complexity of using diverse data sources and emphasized their commitment to addressing copyright concerns. OpenAI expressed a willingness to engage in a constructive dialogue to find a resolution.
Potential Implications
The outcome of this lawsuit could have far-reaching implications for the development and deployment of AI models. If The New York Times prevails, it may set a precedent for other media outlets to scrutinize the use of their content in AI training datasets. This could lead to a shift in how developers source and handle training data, with a greater emphasis on obtaining proper permissions for copyrighted material.
As artificial intelligence continues to evolve, so do the legal challenges associated with its development. The lawsuit filed by The New York Times against OpenAI highlights the complex issues surrounding the use of copyrighted content in training AI models. The outcome of this case could shape the future of AI development practices and the relationship between the technology sector and traditional media. It remains to be seen how this legal battle will unfold and whether it will prompt changes in the way AI developers approach training data and copyright compliance.
By H.E. Mr. Suljuk Mustansar Tarar, Ambassador of the Islamic Republic of Pakistan to the Kingdom of the Netherlands
There is a certain randomness in old friendships. My dear friend Imran Qureshi, the famous visual artist, called me one day from Lahore in April to say that his first show after the Covid pandemic would be displayed at Gallery Ropac in Paris. He asked if I could join. As I live in the Hague, the notice was short. Despite that, it sounded worthwhile, primarily because I had attended Qureshi’s exhibition in MET New York and Washington DC at equally short notice.
I drove to Paris and made it to the opening reception on the evening of April 27. The show was aptly titled Homecoming – for it was after long that the artist was exhibiting his work and it was the type of work he had been doing in the 2010s. Unlike Qureshi’s recent work, these were miniatures showing his mastery.
Imran Qureshi
The opening was followed by a dinner where I met famous designer Christian Louboutin, a friend of Qureshi’s. I gave him my book, All That Art, which he browsed with interest. Qureshi later told me that Louboutin kept All That Art in his summer home in Portugal. I liked the simplicity of Louboutin, who kindly allowed me to take a photo of him with the book. Visual artist Suleman Khilji came from the UK, where he is studying at the Royal College of Arts.
Khilji’s figurative work is profoundly contemporary yet has an element of classic figurative painting, too, and though figurative work is coming back, Khilji started it at a time when it required some daring because the Pakistani art market was fascinated with neo-miniature abstraction. Pakistani designer Mehrunissa, who, with her mother, is the force behind creative Studio Lel, was also present. Thus, Paris became a meeting point for Lahore’s National College of Arts graduates from different parts of the world over Imran Qureshi’s exhibition.
Imran Qureshi, Thaddaeus Ropac and H.E. Suljuk Mustansar Tarar.
I had another day to spend in Paris. The next morning I opted to see the Pompidou Centre. It is one of the early large-scale buildings of high-tech architecture and one of my favourite buildings. It was completed in 1977 and designed by two star-chitects, Renzo Piano and the late Sir Richard Rogers.
The colourful structure, caged in pipes and utility edifices on the Paris street skyline, looked odd. It looked like a Lego structure. However, its other side, the actual front, has a large public space in front and engages the people sitting there or entering the centre. Pompidou Centre has a huge public library, gallery spaces and cinema halls. As I took the escalator, it was like going to an airport but with the most beautiful view of Paris.
In 2024, I hope to visit Paris again to see the retrospective of American abstract expressionist icon Mark Rothko, whose work I got to appreciate while living in New York. But this time, Paris combined for me Pakistan’s creative people from my alma mater, the National College of Arts and high-tech architecture.
About the author:
H.E. Mr. Suljuk Mustansar Tarar is Pakistan’s Ambassador to the Kingdom of the Netherlands. A career diplomat, he writes about contemporary art and architecture and is the author of All That Art. He can be followed on Instagram @suljuktarar & X @suljuk.This article has been published in The News on December 31,2023.
