This roundtable explores the ways in which contemporary Japanese anime sonically represents real and imagined marginalized ethnic others. Participant 1 analyzes _Samurai Champloo_’s main character Mugen, whose Ryūkyūan-coded background is rendered through a blending of Okinawan musicality with hip hop production. This hybrid, anachronistic soundscape sonically positions Mugen as culturally illegible within the homogenizing order of Feudal Japan, framing indigeneity as rhythmic disruption and resistance. Participant 2 analyzes anime’s use of Ainu female voices as a topical signifier of Japanese indigeneity in _Oshi no Ko_ and _Frieren: Beyond Journey’s End_. In these series, Ainu indigeneity serves as a marked foil to modern Japan, encoding Ainu culture as sublimated into or appropriated by the modern Japanese nation-state. Participant 3 turns to Joe Hisaishi’s paradoxical musical treatments in a pair of Studio Ghibli films. In _Princess Mononoke_, the composer uses gagaku instruments for scenes with Ashitaka from the historic Emishi tribe. In _Spirited Away_, he draws on markers of Ryūkyū music to depict the merrymaking of Japanese deities. Participant 4’s paper examines the _Fullmetal Alchemist_ series’ scoring of Ishbal, a fictional indigenous culture based on the history of the Ainu and their struggles against Japanese settler-colonialism in Hokkaido. Their scoring raises questions about how anime represents a generic “indigeneity” displaced from specific real cultures.The flexible and eclectic uses of sonic symbols in these examples not only indexes Japanese cultural fascination with its internal “Others” but also destabilizes the myth of ethnic homogeneity.