This study aims to analyze how composers with dual cultural identities define their unique cultural identities and the creative strategies they use to navigate between two cultures in their music creation. The research focuses on Chinese-American composer Tan Dun, using Homi K. Bhabha’s post-colonial theory as an analytical framework to investigate the internal logic of mimicry, hybridity, and the third space embodied in his representative work, The Map. The methodology combines a music-anthropological perspective with discourse analysis of secondary data sources such as interviews, news reports, and relevant literature, in addition to examining the composition of Tan Dun’s works. The findings reveal that The Map by Tan Dun exemplifies the application of Western postmodern approaches and the mimicry of specific techniques in Western contemporary composition. It uses cultural similarities for substitution and dismantles the center in the third space through the confrontation of heterogeneous cultures, thus establishing a new identity. The Map, one of Tan Dun's most significant works, serves as a crucial research material in demonstrating the post-colonial consciousness of 21st-century composers with dual cultural identities. This study is expected to provide foundational material for exploring and discussing post-colonialism in contemporary music