[Source]
Japanese British artist Rina Sawayama has accused “Saturday Night Live” of mishandling Japanese cultural symbols in Sabrina Carpenter’s Oct. 18 performance of “Nobody’s Son.” The segment featured dancers in karate-style uniforms and shoes stepping on what appeared to be tatami mats, a gesture that in Japan is considered disrespectful. Posting screenshots on Oct. 20, Sawayama said the imagery showed a lack of “research, respect and care.”.
Carpenter’s dojo-themed performance
Carpenter appeared as both host and musical guest for the Oct. 18 episode, performing songs from her album “Man’s Best Friend,” including “Manchild” and “Nobody’s Son.” During the latter performance, she wore a kimono-style robe and black belt while dancers surrounded her in martial arts-inspired outfits and sneakers.
The performance took place on a stage designed to resemble a Japanese dojo, including mats similar to tatami. Sawayama posted screenshots of the set to her Instagram Stories, writing, “Big love to Sabrina ❤️ but fellow artists creative teams… if we are clearly referencing a culture please can you do so with the research, respect and care it deserves.” She also added, “Shoes on tatami is jail.”
Trending on NextShark: Rina Sawayama criticizes Sabrina Carpenter performance for mishandling Japanese culture
Misaligned imagery and cultural implications
Tatami mats, traditionally woven from rush grass and rice straw, are a defining feature of Japanese interiors and symbolize respect for shared space. In Japan, stepping on tatami with shoes is considered improper and can damage the material, which is why footwear is always removed before entering homes, temples and dojos. This cultural norm made the “Saturday Night Live” staging, where dancers in sneakers performed on mats resembling tatami, particularly noticeable to viewers familiar with Japanese customs.
From an artistic standpoint, the staging also felt disconnected from both the song and Carpenter’s public image. The dojo backdrop, framed by paper panels and red accent lighting, had little connection to “Nobody’s Son,” a song focused on emotional distance and self-definition. It also contrasted with Carpenter’s established retro-pop style, which often leans on mid-century glamour and playful sensuality. The result was a performance that borrowed Japanese imagery for visual impact without linking it to the song’s lyrical or thematic intent.
Trending on NextShark: Dodgers’ Yamamoto makes World Series history
This story is part of The Rebel Yellow Newsletter — a bold weekly newsletter from the creators of NextShark, reclaiming our stories and celebrating Asian American voices.
Subscribe free to join the movement. If you love what we’re building, consider becoming a paid member — your support helps us grow our team, investigate impactful stories, and uplift our community.
Trending on NextShark: Beijing creates new national observance linking Taiwan to China’s wartime victory
Subscribe here now!
Trending on NextShark: Kamala Harris signals 2028 presidential run: ‘I am not done’
Download the NextShark App:
Want to keep up to date on Asian American News? Download the NextShark App today!
AloJapan.com