This paper explores the emergence of "Hybrid Cosmologies" within the digital practices of Siberian Indigenous communities as a form of radical engagement and memory work. In the context of the Russian Federation, where official narratives often relegate Indigenous cultures to static, state-sanctioned folklore or "museumified" pasts, digital platforms have become a critical contested space for cultural survival and political expression. This study argues that contemporary Siberian digital creators are not merely performing culture but are actively engaging in Indigenous Data Sovereignty, reclaiming the power to curate, interpret, and distribute their own memory archives independent of state institutions.

Theoretical Framework Drawing on the concept of Indigenous Data Sovereignty (Kukutai & Taylor, 2016), which emphasizes the rights of Indigenous peoples to control data about their communities, this paper posits that social media platforms function as alternative, decentralized archives. The study engages with Andrew Hoskins’ (2011) notion of the "connective turn" in memory studies to analyze how memory is no longer a stored object but a dynamic, fluid process of connectivity. Furthermore, the paper situates these digital practices within the framework of "decolonial computing" (Ali, 2016), questioning how global platforms (TikTok, YouTube, Telegram) are repurposed by local actors to bypass censorship and "engage" global audiences in local struggles.

Methodology and Case Studies The research employs digital ethnography and multimodal discourse analysis of content produced by key Siberian influencers and activist groups (such as the musical group Otyken, as well as grassroots eco-activists). Operating within a qualitative design, data were collected using purposive sampling from 2019 to 2025 across primary platforms (Telegram, TikTok, YouTube). Furthermore, the study strictly adheres to the "do no harm" ethical principle; to ensure participant safety, only publicly available materials were analyzed (excluding closed chats), and identifying details were meticulously minimized. The analysis focuses on the phenomenon of "Hybrid Cosmologies", the strategic blending of traditional shamanic imagery, linguistic heritage, and ritualistic soundscapes with modern pop-culture aesthetics and algorithmic trends.

Discussion: Engagement through Algorithms The paper demonstrates how these digital artifacts function on two levels of engagement. First, they engage the local community, creating a digital "safe space" for the revitalization of endangered languages and identities (e.g., through vertically filmed rituals or memes in Indigenous languages). Second, they engage a global audience, translating local ecological and political crises (such as wildfires or industrial pollution) into a universally consumable visual language. By "hacking" the recommendation algorithms of platforms like TikTok, these creators transform ephemeral "content" into a lasting, albeit fragmented, memory of resistance.

Conclusion Ultimately, this paper addresses the conference theme of "Engagement" by showing how digital humanities methodologies can uncover hidden layers of agency in authoritarian contexts. It challenges the traditional definition of "Memory of the World" by proposing that the true living archive of Siberian Indigenous peoples is currently being written not in dusty ledgers, but in the vibrant, chaotic, and highly engaging streams of social media.