Established in September 2021, ESEA Music is a community led by and for UK-based East & Southeast Asian music industry professionals and artists with over 300 members. As well as offering a supportive network and a sense of belonging, it is the group’s aim to lobby for better ESEA representation in the UK music industry and offer a voice for those working in the industry now, and in the future.

Since 2022’s critically acclaimed debut album, "a journey…", Hinako Omori has fast become one of the UK’s most compelling breakthrough musicians, blurring the lines between classical, electronic and ambient. Born in Yokohama, Japan, Hinako moved to the UK when she was three years old and is now based in London. Hinako began her musical path learning classical piano, later training as a sound engineer, and has since moved into working with analogue synths. Prior to releasing her own solo material she toured with Kae Tempest, Georgia, and EOB, among many others, but it is her work in sound engineering that provides the bedrock of skills that manifest her vision for her music, articulating a whole world in binaural field recordings, analogue synthesisers and augmented vocals.

Stanley Chow is an Illustrator by day and a DJ by night. He is probably best known for his portraits for the New Yorker magazine and in Manchester where his portraits can be seen dotted throughout the city. He also designed Manchester's Chinese New Year Celebration artwork for the past 10 years. Stanley’s DJ career started in Manchester’s Northern Quarter in the mid-nineties, and after nearly 30 years he still loves trying to make people dance.

Jane Jin Kaisen (born 1980 in Jeju Island, lives in Copenhagen) is a visual artist, filmmaker, and Professor of the School of Media Arts, The Royal Danish Academy of Fine Arts. 

Spanning the mediums of video installation, narrative experimental film, photographic installation, performance, and text, Kaisen’s artistic practice is informed by extensive interdisciplinary research and engagement with diverse communities. She is known for her visually striking, multilayered, performative, poetic, and multi-voiced feminist works through which past and present are brought into relation. Engaging topics such as memory, migration, borders, and translation, she activates the field where lived experience and embodied knowledge intersect with larger political histories. Through multi-year projects and collaborations, she has engaged topics such as transnational adoption, the Korean War and division, the Jeju April Third Massacre, and Cold War legacies. Another recurring focus revolves around nature and island spaces, cosmologies, feminist re-framings of myths, and engagement with ritual and spiritual practices. Working from the thresholds of mediums and forms, disciplines and sensibilities, her works negotiate and mediate the means of representation, resistance, and recognition, thus contouring alternative genealogies and sites of collective emergence.

Kaisen is a recipient of the New Carlsberg Foundation Artist Grant (2023) and a 3-year work grant from the Danish Arts Foundation (2022). She represented Korea at the 58th Venice Biennale with the film installation Community of Parting (2019) in the exhibition History Has Failed Us, but No Matter curated by Hyunjin Kim. She was awarded “Exhibition of the Year 2020” by AICA - International Association of Art Critics, Denmark for the exhibition Community of Parting at Kunsthal Charlottenborg. Kaisen has participated in the biennials of Liverpool, Gwangju, Anren, Jeju, among others. Recent solo exhibitions include ‘Jane Jin Kaisen: Braiding and Mending’ at The Image Centre (2023), ‘Of Specters or Returns’ at Le Bicolore (2023), ‘Currents’ at Fotografisk Center (2023), ‘Parallax Conjunctures’ at the Museum of Contemporary Art Detroit (2021), ‘Community of Parting’ at Art Sonje Center (2021) and Kunsthal Charlottenborg (2020). Other recent exhibitions and screenings include: ‘Dislocation Blues: Jane Jin Kaisen’, Tate Modern (2023), ‘Ceremony (Burial of an Undead World)’, Haus der Kulturen der Welt (2022), ‘Checkpoint: Border Views from Korea’, Kunstmuseum Wolfsburg (2022), ‘Unmoored Adrift Ashore’, Or Gallery Vancouver (2022).

She holds a PhD in artistic research from the University of Copenhagen’s Department of Art and Cultural Studies, an MFA in Interdisciplinary Studio Art from the University of California Los Angeles, an MA in Art Theory and Media Art from The Royal Danish Academy of Fine Arts, and she participated in the Whitney Museum of American Art Independent Study Program.

Other exhibition and screening venues include: Kunsthal Århus, Nikolaj Contemporary Art Center, The National Museum of Photography (DK), Haus der Kulturen der Welt, Berlinale, Kunstmuseum Wolfsburg, Times Art Center, Museum Ludwig, Videonale (DE), Asian Art Museum, Museum of Contemporary Art Los Angeles, Gana Art New York, DePaul Art Museum (USA), ARKO Art Center, Seoul Museum of Art, Incheon Art Platform, Seoul New Media Art Festival, Leeum Samsung Museum of Art, Asia Culture Center, Coreana Museum of Art, DMZ International Documentary Film Festival (KR), Silencio Club, Palais de Tokyo, Foundation Fiminco (FR), Malmö Konstmuseum, Malmö Konsthall, Inter Arts Center, Kalmar Art Museum (SE), Sørlandet Art Museum and Oslo Kunstforening (NO), Finnish Museum of Photography (FN), ParaSite (HK), Kyoto Arts Center, Kyoto Museum of Art, Fukuoka Museum of Art, Yamagata International Documentary Film Festival, (JP), Times Museum Guangzhou, Beijing 798 Art Zone (CN), Kaohsiung Museum of Fine Art, Taiwan International Documentary Film Festival (TW), Museum of Contemporary Art and Design (PH), The National Gallery (Indonesia), and Townhouse Gallery (EG).