Short List
Product / ServiceVICE WORLD NEWS
CategoryB01. Mobile Websites
Idea Creation DENTSU WEBCHUTNEY Bengaluru, INDIA
Idea Creation 3 DENTSU WEBCHUTNEY Gurgaon, INDIA
Production 2 PIXEL PARTY New Delhi, INDIA


Name Company Position
Gautam Reghunath Dentsu Creative Head of Business
Aditiya P.G. Dentsu Creative Head of Creative
Gurbaksh Singh Dentsu Creative Innovation Lead
Binaifer Dulani Dentsu Creative Creative Lead
Karishma Changroth Dentsu Creative Project Lead
Ashwin Palkar Dentsu Creative Creative Head - Art
Kushal Lalvani Dentsu Creative Copy Lead
Aabhaas Shreshtha Dentsu Creative Creative - Art
Anjali Thomas Dentsu Creative Account Manager
Geetika Sood Dentsu Creative Creative Producer
Niranjan Raghu Dentsu Creative Video Lead
Manish Joseph Dentsu Creative Motion Graphics Lead
Ishtaarth Dalmia Dentsu Creative Strategist
Ananya S Rao Dentsu Creative Junior Strategist
Meghna Yesudas Dentsu Creative Social Lead
Shaleen Wadhwana Consultant Research Consultant
Shreya Vivek Arora Dentsu Creative Senior Art Director
Tanya Paul Dentsu Creative Senior Art Director
Vignesh Praveen Dentsu Creative Animation and Video Production
Manasi Sheth Dentsu Creative Art Director
Rakesh Bairwa Dentsu Creative Lead Web Developer
Rahul Sharma Dentsu Creative Web Developer
Gerson Pearson Dentsu Creative Video and Mixed Reality Producer
Priyanka Borah Dentsu Creative Business Lead
Stuti Sudha Dentsu Creative Copywriter
Amey Chodankar Dentsu Creative Creative - Art
Karthik Nambiar Dentsu Creative Auxiliary Art Support
Farishte Irani Dentsu Creative Microsite - Copy
Vaishakh Kolaprath Dentsu Creative Art Director
Ronak Chugh Rooted Films LLP Films
Sameer Rahat Consultant Music Composer
Jeremy Pinto Vivi5 Studios Motion Graphics
Manas Sharma Vivi5 Studios Motion Graphics
Mehul Mahicha Vivi5 Studios Motion Graphics
Ateesh Chattopadhyay Consultant .
Prashant Bhikadia Consultant .
Sachin Ghanekar Consultant .
Emi Eleode Consultant .
Shanel Moraes Consultant .


Situation The British Museum is the world’s largest receiver of stolen goods. With over 8 million objects, that’s a lot of looted artefacts. For for centuries, we’ve only heard the imperialist version of they got there. An equitable environment can only be created when silenced voices express the intergenerational trauma caused by colonial loot. Brief To place VICE World News at the forefront of conversations around colonialism and challenge dominant cultures by opening up dialogue to countries around the world to create a balance in the way history has been told. Objectives 1. Give a platform to underrepresented minority voices to share their accounts of artefacts that belong to their country. 2. Re-ignite the ongoing conversation on repatriation and postcolonialism on social media, with VICE championing marginalised voices. 3. Educate young people about the untold side of history using a tool as accessible as Instagram filters to tell unfiltered stories.

Describe the creative idea

The Unfiltered History Tour is an alternative interactive tour of the British Museum’s disputed artefacts. From Egyptologists, to the seventh descendant of the Gweagal Shield, to the Governor of Rapa Nui - 10 experts play tour guide in narrating the true histories of artefacts from their homelands. Using a multi-platform approach, the Tour caters to visitors at the Museum via Instagram Augmented Reality filters to showcase first-ever visual depictions of scenes of colonial crime. On the Unfiltered History Tour microsite, people around the world can experience a rebalanced version of history through a 10-part podcast series narrated by native experts, and partake in the filter experience remotely through immersive audio-video experiences.

Describe the strategy

Data gathering Through an exhaustive selection process in consultation with an art historian, disputed artefacts with an imperialist narrative were chosen, with representation across continents and cultures - Jamaica, Easter Island, Egypt, Greece, Nigeria, Ghana, Iraq, India, China and Australia. Target audience We took a social-first approach and spoke to young people on platforms they were most likely to take notice of - Instagram, Tik Tok, Spotify, Apple Music and other audio platforms. Approach Authenticity was at the forefront of the project, in collaboration with native experts from 10 countries who presented a side of history never seen or read in textbooks or by the Museum. This approach challenged dominant culture and went against the mainstream narrative around colonial artefacts pushed by major publications and the Museum itself. Call to action Visitors to the British Museum were invited to experience another side of history by taking the Unfiltered History Tour.

Describe the execution

The Unfiltered History Tour launched in December, 2021. The microsite functioned as the launchpad for the Tour. The microsite was designed to host two user journeys, for users at the Museum, and those who weren’t. For visitors at the Museum, they could access Instagram Augmented Reality filters and scan disputed artefacts. The filters teleported the artefacts back to their homelands and showcased first-ever visual depictions of colonial crime from the perspective of the home-countries. To account for changing lighting conditions in the Museum, AR technicians employed LiDAR (Light Detection Ranging) data integration, developing a first-of-its-kind dynamic auto adapting Instagram Filter that blends satellite data with Augmented Reality. For users not at the Museum, they could partake in the unfiltered experience by deep-diving into a 10-part extended podcast series told by native experts and immersive audio-visual content.

List the results

In its first month, the campaign has seen $631K earned media 32 million social impressions 40% rise in TikTok followers and 49% increase in total impressions on Instagram 21,583 podcast downloads and 5,200 filter uses Change in behaviour According to a 2014 survey, 59% of Britons were proud of the British Empire. In a poll conducted weeks after the Tour was launched, 59% of Britons said they believed the Parthenon Marbles (part of the Tour) belonged in Greece, a sharp turn in the opposite direction. The podcast series let us go a lot deeper with the project and give audiences something heavily educational, not found in British history textbooks. What some users had to say after taking the tour: “Clever and a brilliant way of teaching historical reality” “Confronts and challenges colonial origins.” “Hearing the past told by multiple perspectives gives depth.” “A much needed resource.”


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