The term Third Culture Kids (TCKs) was introduced to describe individuals who have spent their developmental years outside their parents’ home culture (Pollock & Van Reken, 2017; Useem & Downie, 1976). While the concept has contributed meaningfully to discussions on cultural hybridity, it remains shaped by Western-centric assumptions that often render non-Western diasporic identities peripheral (Vandrick, 2011, 2018). In particular, African perspectives are largely absent from the literature that defines and deploys the TCK framework.This paper presents an arts-based inquiry with Ghanaian children and youth in Canada who navigate life between cultures yet often remain outside dominant narratives of global mobility. Through music and various forms of artistic expressions, participants explored their evolving identities—at times aligning with, resisting, or reimagining the TCK label. Their narratives and musical expressions foreground a different kind of authorship: one that resists externally imposed categories and embraces identity as lived, relational, and emergent ways of knowing (Leavy, 2020; Smith, 2021).During one of the group sessions, a participant spontaneously coined the term Gha-nadian—a hyphenated identity that integrated Ghanaian heritage with Canadian upbringing. The word, though unplanned, resonated deeply with the group and sparked a moment of shared recognition. It was not offered as a replacement for the TCK label, but as a reflection of how identity can surface through lived experience, cultural memory, and collective meaning-making.Methodologically, the study employed arts-based research tools—playlist curation, identity box creation, reflective journaling, storytelling and other creative modalities—to access embodied, emotional, and symbolic ways of knowing not easily captured by traditional methods (Barone & Eisner, 2012; Leavy, 2020). Music functioned not only as cultural content, but as a relational space where belonging, hybridity, and voice could unfold (Barrett & Stauffer, 2009; Hendricks, 2018). It served as an expressive space through which participants explored belonging, self-understanding, and cultural tension.By centering these voices, this study contributes a needed African diasporic perspective to the under-theorized intersection of TCK identity and music education. It calls for a decolonizing shift in how identity is engaged in educational spaces. Not as a fixed category, but as a dynamic process co-constructed through reflection, expression, and relational pedagogy (Dei & Kempf, 2006; Smith, 2021). In doing so, it challenges music educators to reimagine classrooms as sites for identity work, cultural affirmation, and human connection.