The Chinese style has been an important genre in Taiwan's popular music since 1970's and grounded in postcolonial context. The study explains the unstable power of colonial and critical energy of mimicry strategy by invoking Homi Bhabha's postcolonial discourse.This thesis re-structs the context of Chinese style music by critical discourse analysis and historical analysis that explore how the colonizer and the colonized used it to control or struggle. It divides in three dimensions: 1. The conexistence of Chinese colonial and local noise (1975~1985). 2. The rise of local power (1985~2000). 3. The deepnent local consciousness and the counterattack of colonized (2000~). The Chinese style music became lack or popular with the postcolonial context which was also used by colonizer's culture control and mimicry strategy of anti-colonial power.By analysis of the Chinese style in Taiwan popular music is to sophisticatethe blurry colonial dominative skill and critical stuggling strategy of the colonized in the hybridity postcolonial society.