Throughout the centuries, people of African descent have used music to share stories, transfer heritage, sustain community and resist oppression. Our use of the musical is deeply connected to African philosophical assumptions and knowledge transmissions across time and space. The worldviews and experiences of displaced Africans and their descendants are central to conceptualisations of borders, homelessness, liberation, diasporic and ancestral longings. In this chapter, I wish to engage with these interrogations via the erotic and the use of poetry. I will argue that the sensuality of Congolese rhythms, dancing and in particular Rumba have the potential to help the psychosocial to make space for alternative imaginaries and alternative onto-epistemic modes of being/thinking which disrupt modernist, masculinist and Eurocentric normative assumptions. In other words, this chapter is concerned with how Congolese music creatively opens up radically other ways of being with others in the world. Other ways of existing in the world, other ways of relating to the world and other ways of thinking about the world. Ways in which corporeality and intellectuality fuse; where head and heart meet, where the world of the unknown leads the way for deeper truths which are concealed, repressed or discarded under dominant knowledge systems; to be known. Truths which I argue are vital to the welfare of displaced African groups, their diasporas, collective consciousness and memory.