The quasi-religious character of this callout culture finds expression in ritualized shaming and demands for atonement, and for recognition of cultural ownership from those who sacrilegiously transgress against it; and in the ritualized atonement and recognition duly offered up by repentant transgressors.
Cultural appropriation outrage persists because — at the touch of an electronic screen — it serves powerful emotional needs to belong to a particular collective identity, and to social justice causes with highly inclusive lists of victims, such as those with no plausible national connection to the "appropriated” culture. All this is bad news for advocates for the popularization and internationalization of Japanese arts, anime, manga, cosplay and kimono fashion. What should they do?
They can take to social media to highlight the incoherence in cultural appropriation outrage, and show that more racialized understandings of culture play into the hands of actual white supremacists and nationalists, who are busy creating their own Wagnerian variations on the themes of "white” and "European” culture.
They can remind Twitter and Tumblr that Japanese practitioners of traditional arts like the shakuhachi are gladly sharing that art with non-Japanese musicians. They can also point to the internationalist ambitions of kimono designers such as Hiromi Asai, who explained her vision to me as follows: "I believe kimono is a universal fashion that is beyond cultural and ethnic boundaries.”
Rather like Johann Herder and his intellectual heir, Lafcadio Hearn, they can demonstrate that the survival and flourishing of minority and non-European arts, folklores and traditions can depend upon their internationalized transmission.
