This instrumental case study focuses on Taller Tambuyé, a community music initiative based in Río Piedras, Puerto Rico that challenges colonial gender narratives within the Afro-Puerto Rican tradition of bomba. Similar to Eurocentric gender roles that promote the conditioning of females in musical spaces (Ammer, 2001; Dunbar, 2020; Pendle, 2001), bomba women have traditionally held the role of singers and dancers while being excluded from the bomba barrel (Berríos-Miranda et al., 2018), the Puerto Rican drum and central piece of the tradition (Abadía-Rexach, 2019; Cepeda, 2012; Dudley, 2019; Power-Sotomayor, 2020). The founding of Taller Tambuyé marks a de-linking from gender dynamics in Puerto Rican bomba, as the project cultivates a space where women can learn and performs all components of bomba—including its percussive aspect. Rooted in a decolonial theoretical framework, this research demonstrates how community music can foster spaces to claim agency and reshape positions in male dominated spaces, especially for marginalized populations in Latin America.This qualitative case study combined multiple data gathering methods: participant observations of lessons and bomba gatherings, semi-structured interviews with community music leaders, facilitators, and participants as well as content analysis of performances by Taller Tambuyé and the adjacent ensembles Ausuba and Las Barrileras del 8M. Interviewees expressed how Tambuyé has offered pathways to self-empowerment, healing, and solidarity through bomba playing. Content analysis of performances by the ensemble Ausuba demonstrate a repurposing of bomba through original compositions centered on women's lived experiences, while Las Barrileras del 8M align bomba with the broader feminist movement against gender violence. Nevertheless, beginner and advanced lessons still hold proximity to traditional bomba repertoire and practices. Data analysis, in conjunction with a triangulation process (Burke-Johnson & Christiansen, 2020), revealed a departure from traditional norms and the arrival at decolonial options untethered from coloniality (Lugones, 2024; Quijano, 2019). The project resists colonial epistemologies that frame women's musical participation as passive, offering instead a model of community music rooted in inclusivity, cultural reclamation, and feminist praxis and self-assurance. The initiative has also engaged in broader social critiques related to gender, politics, and economic inequalities.Ultimately, this paper argues that community music can function as a space of epistemic disobedience—disrupting imposed hierarchies of knowledge, power, and gender (Rosabal-Coto, 2016). Taller Tambuyé embodies a delinking from Eurocentric norms, allowing Puerto Rican women to reconceptualize their roles within musical traditions and society (Mignolo, 2011). Through this case study, the research elucidates intersections between music education, decolonial theory, and gender studies by illustrating how localized, community-driven musical practices can challenge historical injustices and offer transformative possibilities for cultural participation and music pedagogy.