In 1848 New Orleans, Louisiana pianist and composer Louis Moreau Gottschalk composed "La Bamboula (Danse des Nègres), Op. 2". My discussion centers on the relationship Gottschalk had with the African diasporic musical tradition denoted as the bamboula. I present an analysis of two narratives chronicling Gottschalk's relationship with the bamboula rhythm. In reading across, through, and within these two narratives, I look to the fields of sound studies, cultural studies, Black studies, philosophy, and critical geography. I conclude that sound is sensual/and or extramusical in exploring possible ungovernable porosities incited through spatial dynamics via how communities existed within socio-sonic spaces. The foray into these concentrations is to consider the broader educational possibilities inquiries into the sonic presents.