A socially oriented non-financial development institution and a major organizer of international conventions, congress, exhibitions, business, social and sporting, public, and cultural events.

The Roscongress Foundation is a socially oriented non-financial development institution and a major organizer of international conventions; exhibitions; and business, public, sporting, and cultural events. It was established in pursuance of a decision by the President of the Russian Federation.

The Foundation was established in 2007 with the aim of facilitating the development of Russia’s economic potential, promoting its national interests, and strengthening the country’s image. One of the roles of the Foundation is to comprehensively evaluate, analyse, and cover issues on the Russian and global economic agendas. It also offers administrative services, provides promotional support for business projects and attracting investment, and helps foster social entrepreneurship and charitable initiatives.

Each year, the Foundation’s events draw participants from 208 countries and territories, with more than 15,000 media representatives working on-site at Roscongress’ various venues. The Foundation benefits from analytical and professional expertise provided by 5000 people working in Russia and abroad. In addition, it works in close cooperation with 160 economic partners; industrialists’ and entrepreneurs’ unions; and financial, trade, and business associations from 75 countries worldwide.

The Roscongress Foundation has Telegram channels in Russian (t.me/Roscongress), English (t.me/RoscongressDirect), and Spanish (t.me/RoscongressEsp). Official website and Information and Analytical System of the Roscongress Foundation: roscongress.org.

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What Will Russia Come up with Next?
2 June 2021
In a changing society, creative industries and projects need to be developed at a global level, for which the creative industries need support

Russian thought can be competitive in the world of borderless and seamless creative activity. Today, when we switch on Netflix or YouTube, we do understand that ideas from any country have a chance to be popular, heard and noticed. Creative platforms do not need a platform, as you are your own platform. We need to create an environment and ecosystem that would provide the world with creative products Russia came up with — Tinatin Kandelaki, General Producer, Match TV.

All creative industries have a grassroot origin: it’s our people’s creative activity, as well as the creative relevance of our urban communities. I would also highlight communities in small towns and rural areas. Who is our leader in terms developing creative industries? Naturally, it is Moscow. There is yet another region that should be named among the leaders – it’s Tatarstan, of course. Let me give you more examples. Last year, during the pandemic, Tula Region created such a unique space as Devyatka though uniting culture development centres. Finally, Belgorod Region, which in 2020 created such a unique creative space in Oktyabr Art Residence — Olga Yarilova, Deputy Minister of Culture of the Russian Federation.

Let me give you an example. Natalia Vodyanova got married in a dress decorated with Krestetsky embroidery. It come from a small village, where Catherine II stopped to give her horses water on the way from St. Petersburg to Moscow. What is creative economy? First of all, it means creative activity prevails. Our audience here does not need any explaining. It is high value added. This added value needs to remain in the Russian Federation — Gulnaz Kadyrova, Deputy Minister of Industry and Trade of the Russian Federation.

Instead of creative platforms and global trends, short-lived projects are created that are quickly forgotten and are fraught with a crisis of ideas

Nobody needs creative industries without a creative economy. Danya Millokhin and TikTok are the very definition of creative industry and creative economy. I would just hope for our country to come up with TikTok instead of Danya Milokhin, who is going to be done in a year. Every generation will create such guys as Danya Milokhin every year. They will get popular. They go up and down in various ratings. There will be a lot of such projects — Sergey Kapkov, Head of the Centre for Culture Economy, Urban Development and Creative Industries Research, Faculty of Economics, Lomonosov Moscow State University.

I feel like we are playing an unfortunate role of some African residents that sell bison and their fellow tribesmen for beads. All bloggers and TikTokers are YouTube and TikTok employees. All the dough goes to the owners of these platforms, while they are just aboriginal dancers — Sergey Shnurov, General Producer, RTVI; Musician, Poet.

This is the crisis of the genre, as the film people are abandoning feature film for Internet formats. It only seems that bloggers with millions of followers are just making home videos. Actually, it is staff and professional producers and authors who make it work. There is a beautiful set-up; then it gets filmed. There’s a good light and high-quality production. This is why it get millions of views. This is the fee and the ticket to it. The government also understands that one needs to pay for this — Sergey Novikov, Chief of the Presidential Directorate for Social Projects.

Technological innovation and targeted support

Many years ago, we adopted a principle that art and technology always coexist. We came up with a language, a new cinematic lingo, about us spending most of our time in the digital world. So, what we type is code – what we look for through search engines, how we play games, how we talk – all of it is a significant chuck of our life. A young man would not climb a balcony to tell his girlfriend that he loves her and give her flowers. He sends a message. This is how people interact today. And many other things — Timur Bekmambetov, Director, Producer, Screenwriter; Founder, Bazelevs..

Government institutions supporting creative industries are going through the same transformation. We are moving away from the initial intent – ‘let’s support creative industries in general’ – to a segmented approach. This is probably just the logic of life: what develops better should get support from the government. It is the paths that people actually walk should get paved — Sergey Novikov, Chief of the Presidential Directorate for Social Projects.

Promoting a language-neutral Russian product

Where Russian is spoken, literature should be developed, animation should be dubbed in Russian. Anyone who speaks Russian receives Russian cultural codes. But maybe the language of music is more global than the range of any particular language. And in a creative economy, China considers food to be a creative industry. If you hand out the same amount of ingredients to ten of us and tell us the dish to make, each dish will taste differently because everyone will use their own proportions, add something different and even their own energy, so it is also a creative industry — Sergey Kapkov, Head of the Centre for Culture Economy, Urban Development and Creative Industries Research, Faculty of Economics, Lomonosov Moscow State University.

Our animated content for international markets is very versatile. We are all doing more and more dialogue-free content. These are so-called physical gags, dialogues can only be replaced by funny, unorthodox physical gags. Masha and the Bear is a great example of this. Today, the big global giants, when they come to local markets, begin to take into account the specifics, needs and traditions of local markets. In other words, the winners are those who, upon entering the market, adapt, localize and integrate into the structure. And we need to do the same — Yuliana Slashcheva, Chairman of the Management Board, Soyuzmultfilm Film Studio; General Director, Gorky Film Studio; Chairman of the Management Board, Russian Animated Film Association.

The material was prepared by the Russian news agency TASS