MUSIC


People who have migrated from Africa to South Korea held various occupations in their home countries. These individuals were engaged in a wide range of fields, from office jobs such as bankers and accountants to artistic roles like DJs and musicians. However, upon arriving in South Korea, most of them find themselves working in manual labor, a reflection of the structural issues in the labor market that often limits immigrants to such roles. As economic migrants adjusting to a new environment, they often lose the opportunity to fully utilize their expertise and find themselves unable to maximize their potential. In recent years, South Korean television has frequently featured foreign broadcasters and entertainers who are fluent in Korean. However, African artists who were actors, singers, or dancers in their home countries rarely receive such opportunities. This can be attributed to several factors. First, many African immigrants came to South Korea primarily for economic reasons—seeking employment—rather than out of cultural interest in the country. As a result, they often prioritize making a living over investing time in learning the language or adapting to the culture. Moreover, legal barriers such as visa issues further hinder their ability to work in their specialized fields. These combined factors make it exceedingly difficult for those who had established professional artistic careers in their home countries to continue their careers in South Korea. This project provides African workers/artists with opportunities to continue their artistic careers in South Korea, helping them reaffirm their identities and promoting cultural exchange with Korean society. Through these efforts, Space AfroAsia hopes to reframe African immigrants in South Korea not just as economic migrants but as individuals with diverse cultural backgrounds and artistic talents.


Welcome to My Funeral, 2022










This work is a project created in response to the death of the father of Charles, a Nigerian musician and migrant worker, who passed away in South Korea. The project is imbued with the intention of mourning his death. After the passing of Charles's father, Space AfroAsia took responsibility for the entire process of funeral arrangements and the repatriation of the body, leading to a profound reflection on the harsh realities faced by migrant workers. This project aims to express the experiences of death and the lives of migrant workers through art. The music production for the project involved producer CHE Onejoon, with Korean composer Youngbogus handling the composition. Musicians Lozik, Nightingale from Ghana, and Charles collaborated to write the lyrics, candidly conveying their personal experiences and emotions. The music expresses the hardships of life in Korea through powerful hip-hop and rap, delivering a message of solace to migrant workers. This project goes beyond a simple music production, symbolically emphasizing the mobility of migrant workers by creating a special coffin in the shape of a shoe. This shoe-shaped coffin is a type of 'fantasy coffin' commonly used in West African funerals, symbolizing mobility and the journey of life. Fantasy coffins are a unique funeral tradition that originated in West Africa, particularly in Ghana, and are crafted in forms that reflect the life and personality of the deceased. The shoe-shaped coffin represents the journey and mobility throughout the deceased’s life, honoring the paths they walked. Additionally, multinational models wear suits made from a blend of Korean fabrics and African textiles, visually expressing the fusion of cultures. These suits symbolically connect Korean and African cultures, representing the complex identities and experiences of migrant workers. This work focuses on expressing the lived experiences of life in Korea and the realities faced by migrant workers through art. At the same time, it symbolically represents what the lives and deaths of migrant workers mean within Korean society.


No Pain No Gain, 2022








Space AfroAsia, through close communication with migrant workers, has come to understand the severe human rights situations they face. This realization has revealed a darker side of Korean society, highlighting the urgent need for greater awareness and action. During this time, a Nigerian migrant worker and musician Osinachi was injured at a construction site, which became the catalyst for expressing the pain experienced by migrant workers through song. The resulting song, "No Pain, No Gain," reflects the harsh realities of manual labor while also conveying a message of hope that dreams can endure even in difficult circumstances. Despite the challenging environment, the workers continue to pursue their dreams and goals, maintaining a positive outlook even in the face of adversity. The song illustrates how labor roles once primarily held by Koreans are now being filled by African migrant workers, emphasizing the significant role they play in Korean society, despite their contributions often going unrecognized and their rights being neglected. This project was filmed in locations symbolizing South Korea's success and prosperity. The shooting locations included the Han River and luxury shopping districts, which represent the nation's economic growth and social achievements. Filming in these locations was intended to visually underscore the crucial role that migrant workers play in the shadows of Korea's growth and success. Against the backdrop of Korea's glamorous exterior, the realities and contributions of migrant workers become more pronounced. The project also features a monument to Jeon Tae-il, drawing a connection between the legacy of the 1970s Korean labor rights movement and the current struggles of foreign migrant workers. This symbolizes the need to expand the fight for labor rights to include the protection and advocacy of migrant workers. The inclusion of this monument serves as a reminder that labor movements must be inclusive, and that the lessons of the past should guide efforts to address the injustices faced by marginalized workers today. Through "No Pain, No Gain," Space AfroAsia aims to shed light on the difficult realities faced by migrant workers, highlighting their perseverance in pursuing their dreams despite the hardships. The song seeks to increase social awareness of their contributions and rights in an accessible way.

*Jeon Tae-il was a South Korean sewing worker and labor rights activist who committed suicide by self-immolation at the age of 22 in protest against the poor working conditions in South Korean factories.


Made in Korea, 2021








Highlife is a music genre that originated in West Africa, particularly in Nigeria and Ghana. It is characterized by a unique blend of traditional African rhythms with Western influences such as jazz, blues, and Latin music. The genre is known for its lively, upbeat rhythms centered around brass instruments and guitars, and it has been cherished for many years in the West African region. Highlife skillfully combines local musical traditions with external elements, making it an excellent medium for expressing a wide range of emotions. In 2017, Osinachi moved to South Korea after spending many years as a highlife singer-songwriter in Nigeria. During his time in Nigeria, he built a unique musical identity through highlife, captivating many audiences. However, after moving to South Korea, he found himself working in a textile factory to make a living. Despite the challenges of adapting to a new environment and lacking opportunities to showcase his musical talents, Osinachi was determined to express his gratitude toward Korean society through his music. Osinachi created a demo version of a song that expressed his appreciation for Korea. However, he wanted this song to evolve beyond just a demo and be transformed into a fully developed piece that incorporated elements of Korean musical traditions. Recognizing this potential, Space AfroAsia suggested that he arrange the song into the trot genre, a popular and long-standing form of Korean pop music known for its distinctive melodies and emotional lyrics. Osinachi embraced this idea, and through collaboration with a trot composer, the song was reborn in a new version. During this process, Space AfroAsia discovered intriguing similarities between highlife and trot. Both genres emphasize a blend of traditional and modern elements, with a strong focus on expressing emotions. This commonality allowed the two musical traditions to merge and create a new song that transcended cultural boundaries. This new version of the song became more than just a musical experiment; it represented an expansion of Osinachi's musical identity and a significant step for Space AfroAsia in fostering cultural exchange between Nigeria and Korea through music.