Positive klyukvification is opposite to the Pussy Riot effect. In the first case one tries to ‘sell’ an (‘obvious’) mockery of the Russian stereotypes to the target audience. The mechanism behind positive klyukvification is exaggeration to the extreme of the neutral/positive mystification part of the ‘klyukva‘ (i.e. ‘cranberry’) narrative. On the contrary, the Pussy Riot effect is based on ‘selling’ the (cultural) product of negative klyukvification [see: vilification narrative of Russia] as a manifestation of ‘authentic Russianness’. Thus, positive klyukvification can be viewed in the context of reappropriation.
The ‘story’ of a fictional character called Neuromonk Feofan (Theophanes) is the sonic incarnation of positive klyukvification: he ‘sings’ and dances ‘drum‘ (this is how drum ‘n’ bass is usually referred to in Russia) with a bear and encourages one to dance till one’s lapti (Russian folk shoes made from the bark of the linden tree or birch tree) wear out, praises Rus’ and ‘Muzhik’s Power‘ (Muzhitskaya Silushka), etc.
The target audience of Neuromonk Feofan is Russian, but positive klyukvification in general is a foreign friendly phenomenon and has good potential in the Western and/or Eastern market.