Besides the opportunities to play with and learn from Cuban musicians, Jaffe says that the PHJB plans to share their New Orleans musical history – “People in New Orleans still dance to jazz. We play jazz at our funerals” – with their hosts.

Jon Cohen, who covers HIV/AIDS for Science magazine, and photographer Malcolm Linton have been documenting the lives of HIV-infected people in Tijuana for two years. In their new book, Tomorrow Is A Long Time, they tell stories of the people in El Bordo as well as the Zona Norte (the red light district) and La Mesa prison.

The movie was The Martian, and it had everything we should be promoting: It showed Americans as smart, resourceful, and innovative. It showed us as independent thinkers, but also as selfless team members who worked together when needed... And it showed America as a culturally diverse nation where people with talent could succeed, regardless of their race or religion.

The militaries of many nations harness mass media and pop culture for promotional purposes… Japan is no different. But what makes their military unusual is that the image being projected isn’t one of might or machismo but of cuteness…this kawaii (cute) imagery is...a testament to the deep ambivalence the Japanese retain about both the history and the changing role of their armed forces.

 This is reflected in China’s active global public diplomacy drive [...] which started in the mid-2000s. This aspect of people-centred relations has also featured as an element in official Focac documentation. China’s current engagement in South Africa has expanded to include the subset cultural diplomacy, a term described by the US State department as the ‘linchpin of public diplomacy’ that reveals the soul of a nation.

At last, Singapore has got its own magnificent National Gallery. Located in the restored City Hall and Supreme Court buildings, it is a showcase of South-east Asian art. Insight looks at why Singapore is putting local art in the spotlight, and what this signals about cultural identity.

A group of orphans and street children have been trained in photography and asked to capture the world around them […] It became known as the Murmushi Photo Project. As well as giving them a practical means by which they might one day make a living, it provides them with a visual voice through which they can document their worlds.

[…] Films are targeted at an international audience, which is already saddled with its own preconceptions of Africa [...] Why tie the film so explicitly to a cause that “needs immediate attention,” if not to profit on the outdated idea of that there is a foreign land that needs saving? Art can certainly dramatize real-life events, but it can’t be the earnest volunteer on the street with a Greenpeace clipboard.