The Truth and Reconciliation Commission in Canada released its Calls to Action in 2015 to address ongoing colonial detritus and to support the healing and rights of Indigenous Peoples.1 While two clauses specify the role of newcomers to Canada, there is a lack of both knowledge and strategies of how newcomers might contribute meaningfully to true reconciliation. Given this situation, I intend to explore ways to facilitate Korean diaspora musicians' engagement in decolonial practices in Canada. In this study, I will explore the meanings of musical experiences of Korean diasporic musicians or music teachers in identifying their positionality in a settler-colonial context and in cultivating decolonial thinking and practices.Within settler-colonial contexts, scholars have drawn attention to the presence and roles of Asian diasporic communities in promoting decolonial collaboration.2,3,4,5,6,7 While Asians belong to a visible minority group in Canada, subject to discrimination and exclusion, they are also placed in the position of "settlers", residing on Indigenous lands and benefiting from the settler-colonial structure. Behind such complex positionality lies the entangled interplay of race, migration, labour, capitalism, and colonialism, as well as sociopolitical interests among First Nations, Canada, and their home countries.2,4,6 In the process of dismantling colonial structures, music plays a role in navigating transnational identities of diasporic members and enhancing mutual understanding of other communities.8,9 Also, diasporic musicians, through their creative and hybrid musical practices, often generate new discourses and cultures within in-between spaces, conveying critical and transformative messages.10,11,12 No researcher has examined Korean diaspora musicians' positionality and roles or the potential significance of their musical experiences within Canada in relation to Indigenous-specific decolonization.I will adopt a hermeneutic phenomenological methodology to describe the essence of the musical experiences of Korean diasporic musicians/music teachers in Canada and interpret the common meaning they ascribe to such musical experiences in a transnational and decolonial context.13 I will use a questionnaire, individual interviews, and a focus group discussion as methods to conduct this study. For data analysis, I will draw upon van Manen’s framework,14 which interprets lived experiences through five existential themes: corporeality, temporality, spatiality, relationality, and materiality. This study will contribute to generating knowledge on how the Korean diasporic community members negotiate their transnational identities and social responsibilities in pursuing decolonial practices through musical practices.Upon receiving Human Research Ethics approval, I will conduct my study from November 2025 to June 2026, reporting on my initial analysis in this session. (399 words)