Over the winter I was pretty frustrated, because I wanted to do more "micro-drumming" - i.e. spend 5-10 minutes practicing the pandeiro, or on the congas remembering some of the old rhythms I used to play with my first drum teacher. But I was cold, and the circulation in my hands is terrible. Drumming is not made for cold weather. In a very non-rigorous scientific observation, I can't think of any hand drumming tradition that comes from cold countries. Barring the Irish frame drum of course; but there is ample evidence that this drum came up from North Africa anyway. (No, I can't cite sources - I told you this was non-rigorous).

My wife Amanda Dates, a yogi from whom I've learned deep lessons, pointed me to this interview with San-Francisco-club-scene icon Cheb-i-Sabbah. She knew I resonated with the sentiment that dancing in clubs is akin to a spiritual moment. Below is another quote I liked from the interview, which - if you substitute "DJ" for "drummer" - expresses something I feel the same about (organized) percussion ensembles:

I recently indulged in a musical flashback - the English Beat's first album. It's only now, listening to it in retrospect, that I appreciate what it taught me about rhythm. A tight tick-track drum sound permeates the entire album, and it's really the accents that create the effect - and pleasure of listening.