The term conga refers to the music groups within Cuban comparsas and the music they play. Comparsas are large ensembles of musicians, singers and dancers with a specific costume and choreography which perform in the street carnivals of Santiago de Cuba and Havana.

The instrumentation differs between congas santiagueras and congas habaneras. Congas santiagueras include the corneta china (Chinese cornet), which is an adaptation of the Cantonese suona introduced in Oriente in 1915, and its percussion section comprises bocúes (similar to African ashiko drums), the quinto (highest pitched conga drum), galletas and the pilón, as well as brakes which are struck with metal sticks. Congas habaneras lack the corneta china but include trumpets, trombones and saxophones, and they have a different set of percussion instruments: redoblantes (side drums), bombos (bass drums), quinto, tumbadora (the lowest pitched conga drum), and metallic idiophones such as cowbells, spoons, frying pans and rims.

Congas and comparsas have a long history which dates back to the 19th century, with musical traditions being passed down from one generation to the next. The older comparsas are derived from cabildos de nación or other social groups, whereas the later ones, called paseos, are derived from barrios (neighbourhoods). The music of the congas has become a genre itself, being introduced into Cuban popular music in the early 20th century by artists such as Eliseo Grenet and Armando Oréfiche and his Havana Cuban Boys. They have been present for decades in the repertoire of many conjuntos, Cuban big bands and descarga ensembles, also having an influence on modern genres such as salsa and songo. The conga drum, also known in Cuba as tumbadora, took its name from the congas de comparsa.