My contribution to the charged discourse of cultural appropriation seeks to contextualize its utilization in popular performances so casual in their production and consumption that they are often overlooked. In fact, their deceptively benign playfulness is what makes them remarkably effective in cementing a racialized repertoire that traverses cultural borders. This introduction serves as a foundation for thinking through what I define as “fannish” (affectively invested) behavior that motivates racialized embodiment. I anchor my project in the juxtaposition of two groups who employ what I identify as “playful racial masquerade” within the ludic space of short form dance: Filipinx and White North American fans of Korean and Japanese media. I illustrate how these fan performances not only “do” race from oppositional subject positionalities, but also how these embodiments—playful as they may be—reinforce uneven power dynamics as they are disseminated across new media platforms in the vehicle of bite-sized and easily reproduced short form dances. My dissertation project introduces the conceptual framework of racialized masquerade as a multifaceted performance. I argue that with (and without) corporeal bodies, the composed body in masquerade works as a piecemeal assemblage of racialized cosmetic and gestural metonyms.