#iggymosh: a critique on cultural appropriation.

 Trigger Warning: This video includes flashing imagery and very ugly, jarring sounds.
Project Details:
Choose one or more texts of a total of no more than 100 words, and without altering the text, create a convincing typographic argument in any medium, guided by the principles of classical rhetoric.

Quoting Work From:
Dodai Stewart
Jaya Bedi

Datamosh Video
︎︎︎Selected by: 
Jason Grant
︎︎︎ Guest comment by: Douglas Rushkoff

Shift 1 Exhibition
︎︎︎ Brisbane, AU
︎︎︎ In Residence ARI
︎︎︎ ft. in Mous Magazine

About #iggymosh:
In essence, the iggymosh video is about cultural appropriation. It makes an argument that culture ≠ costume, people ≠ accessories.

The crux of the critique is the notion of cultural signifiers as exactly that: symbols of Otherness on some, and awkward fashion statement on others. The former signifies cultural belonging, while the latter... well, it’s 2020, I’m sure you know the drill. (If not, please watch the video).
At the time, Iggy Azalea had recently released her Bounce video,  to, frankly, surprising acclaim. But it really didn’t vibe with me at all. I felt discomfort about my relationship with my Indian cultural identity and didn’t appreciate the sentiment of her statement much at all.

The video became a response to that discomfort and a well timed brief provided by  my Typography 03 tutor at the time, Jason Grant of Inkahoots.

The work references the histories of Colonised Others; those who have experienced the weird and wonderful forms of assimilation around us. It especially references those who are encouraged to actively reject their own cultural signifiers in favour of the Colonisers.
My research, at the time, explored theories of decolonisation and the rejection of assimilation. This awareness of the grammar of coloniality creates opportunities to challenge it, and my work was an attempt at formulating a visual language for this.
By datamoshing the video, I was asserting my awareness of the digital [codec] and political [colonial] systems by being disobedient within it. Like the project of coloniality... it was all a big experiment to see what might happen. 
In some ways, this was an acting out of decoloniality in a digital framework. As was stated by Nick Briz, the work itself aims to make us “aware of the medium, its structure and its politics”. To have us feel uncomfortable and concerned, but simultaneously curious about its unavoidable, already-existing potential. ✴︎︎︎

Related Projects:
Melbourne, AU