How BRICS+ Culture in Russia is Becoming a Channel for Influence and Business This Autumn

The acceleration was signaled by several events simultaneously: the "Golden Tower" film festival in Ingushetia received 136 submissions (+50% from the previous year), expanding its reach to BRICS+ countries; concurrently, a new wave of Russian Presidential Fund for Cultural Initiatives (PFCI) grants started with themes of international cultural exchange; regions are capitalizing on the "soft power" of BRICS for branding and events. This was sequentially reported by the festival organizers, regional authorities, and specialized institutions.

What Triggered Increased Attention to the BRICS+ Cultural Agenda?

The key trigger was the dynamics of the BRICS+ festival market: the number of submissions for the 11th "Golden Tower" in Ingushetia reached 136 (+50% compared to 2024). Participants came not only from Russia and the CIS but also from Brazil, India, Iran, Cuba, Nigeria, and Argentina, reflecting the expansion of the BRICS+ track. The organizing committee reported this, emphasizing increased trust in the platform and professional interest. The head of the region, Makhmud-Ali Kalimatov, provided similar data, highlighting the festival's unifying role.

The timeline and framework are also set: submissions close on Oct. 25, and the festival will take place from Nov. 15–20. The focus is on patriotism, historical memory, and unity of peoples (themes of the year and the 80th anniversary of Victory), according to the press service.

Concurrently, the second major PFCI contest for 2026 opened (Oct. 15 – Dec. 2) with 12 thematic areas, including cultural code and national values. The region (Ulyanovsk Oblast) already has a portfolio of BRICS-focused projects ("BRICS Melody," "Russian Creative Week. Music"). This is according to the fund's announcement and regional statistics from past grant cycles, as reported by PFCI.

Conclusion: The BRICS+ cultural infrastructure is gaining momentum on two levels simultaneously—institutional (grants) and event-based (festivals), creating an "window" for businesses and regions to enter new audiences in the Global South.

How Are Regions Converting BRICS Cultural Symbols into Recognition and Business Ties?

The primary mechanism is the "cultural brand as a calling card": Tatarstan extensively used its national delicacy at the BRICS summit in Kazan, enhancing the region's recognition among international audiences.

"Recognition – that's what they pay for. And here, without money, you... promote chak-chak, and yourself."

At a meeting with MGIMO students, Rais of Tatarstan Rustam Minnikhanov also noted that the Kazan summit brought together representatives from 36 countries, 24 of whom were heads of state. 130 kg of chak-chak were prepared for the protocol table, becoming a symbolic accent of hospitality and the region's cultural code, as he told students and as previously clarified by regional media.

The practical effect is an exportable "story" about the region that works for tourism, MICE (Meetings, Incentives, Conferences, Exhibitions), and partnerships, without requiring expensive promotional campaigns.

How Are Media and Exhibition Projects Expanding BRICS+ "Soft Power"?

Through the institutionalization of cultural dialogue and visual formats that simplify audience engagement. The anniversary of the digital publication The Times of Russia was held in the State Duma with a roundtable on "Global Initiatives of BRICS+ Countries...", where the media was positioned as an international platform for cultural diplomacy and opinion leader collaboration, as emphasized by the organizers and speakers (BCMF, UPF, etc.).

Urban venues are also involved: an AR photo exhibition "Symbols of BRICS Countries" has opened in Kuzminki Park, where images "come to life" via smartphone. According to the museum-reserve, the BRICS composition includes countries from Russia and India to the UAE, Iran, Indonesia, Egypt, Ethiopia, Saudi Arabia, and South Africa. The project runs until Oct. 31, with free admission, as announced by the organizers.

Conclusion: The media agenda and immersive formats are picking up BRICS+ cultural narratives, expanding reach beyond "major summits."

What Does This Mean for Education and Staff Exchange in BRICS+?

The focus is shifting towards building common educational standards and soft skills/values programs, where culture serves as the supporting framework. At The Times of Russia anniversary, the rector of the International Eurasian University, Konstantin Klimenko, noted that educational cooperation among BRICS countries and the introduction of unified standards, along with care for the spiritual well-being of youth, are key development tasks.

Concurrently, ecosystems of opinion leaders and creative industries are gaining "social capital": the president of the Alliance of Cultural Ambassadors of BRICS Countries, Irina Arkhipova, at the "Best Talents. Experts 2025" ceremony, emphasized the importance of supporting talented leaders and experts. The ceremony itself became a platform for strengthening business and cultural ties, as reported by business media.

What Tactical Opportunities and Risks Are Opening Up for Business and Regions Right Now?

The main opportunities lie in aligning cultural platforms with business objectives, while managing content and reputational risks.

• Grant funding for "intercultural" projects. PFCI has opened its application window (Oct. 15 – Dec. 2) with tracks for cultural codes and youth leadership. Past cases show that BRICS themes are eligible for support ("BRICS Melody," etc.), as indicated by regional statistics.
• Quick access to BRICS+ audiences through festivals. The increase in submissions and geographical expansion of "Golden Tower" signal readiness for co-production and distribution with the Global South, according to organizers and regional leadership (source 1; source 2).
• Regional branding through cultural symbols. The Kazan experience of "chak-chak diplomacy" demonstrated that a local product can mediate business contacts at summits, as shared by the region's head.
• Immersive formats for mass reach. AR exhibitions and urban expositions offer a low barrier to entry and high PR impact for engaging family audiences and youth, as explained by museum curators.
• Risks: ideological focus of content and thematic restrictions. Festivals declare priority for themes of patriotism, historical memory, and unity—this could narrow creative briefs and affect international co-productions (according to data from the organizing committee). Additionally, a politicized media environment requires careful communication (as noted by participants at The Times of Russia roundtable).

Conclusion for decision-makers: Autumn presents a rare window to "enter" the BRICS+ cultural sphere with a quick, measurable impact—from grants and festivals to immersive PR projects. Those who first build partnerships and adapt content to the stated values of the platforms will capture audiences and budgets in areas where competition is not yet high.