The estimates of the U.S. Census Bureau showed Asians (24.8 million) in 2023 make up 7% of the total U.S. population. Grown by 109% since 2000 as the fastest-growing ethnic group, Asian Americans remain marginalized in the U.S. and continue to face discrimination, especially during the COVID-19 Pandemic when countless incidents of hate crimes, from overt physical violence to subtle biases, were reported. To combat racism and stop hate crimes, national policies such as the “Anti-Asian Hate Bill” was signed into law in 2021. Many states have also enacted laws to promote tolerance and address harmful stereotypes through anti-discrimination measures and educational initiatives. Illinois, with the 5th largest population of Asian Americans, is the first state to require Asian American histories be taught in public schools with the Teaching Equitable Asian American Community History Act (TEAACH Act) in 2022. In response to the TEAACH Act, I studied performing arts, i.e., music, theater and dance of selected Asian American communities (Chinese, Korean, and Japanese) for their significant contributions that enrich the multicultural makeup of the U.S. society. Specifically focusing on community musicking experiences, I examined how Asian Americans have attempted to “display” their cultural identities “publicly” through performing arts to be “in sync” with the rest of the society (Zheng, 2010). Data collected to tackle this issue include historical accounts of musicking experiences of the Asian Americans that highlight the diasporic connections and the “local cultural politics and battles over multiculturalism” they have encountered since the mid-19th century when the first major wave of Asian immigrants arrived to pursue their American Dream. With the historical findings, I was able to justify the key roles Asian Americans have played in U.S. history and to develop a K-12 music curriculum based on the second set of data originating from my fieldwork with Asian American performers and the cultural bearers in great Chicago area. Embedding these performers’ stories within the curriculum, I demonstrated how Asian American performers take control of their musical narratives and how these narratives can potentially be used to counteract the mainstream stigma. Framing my findings primarily within the values of informal learning, community-based musicking experiences, and the transformative power of inclusive history education, I hope this music curriculum, one of the many missing pieces in public education in the U.S, will empower students to critically examine the past to address current inequities in this country.