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).

Bateria Lucha is a Bay Area percussion ensemble, an activist group and a Drupal website.  All three things which rank high on my recommendation list, and while I've known of them for several years, I only finally attended some of their classes recently.

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've been thinking about the process of learning a lot lately.  Partly because I work at a school, so it's a topic that comes up a lot anyway.  And I'm looking a lot at my own learning, particularly since I'm learning how to play the pandeiro, and also partly because I recently got a chance to sit down with my first drum teacher, Sango Muyiwa, which was exhilarating and humbling at the same time.  It made me realize how far I had come, but also how much farther ahead he was that I ever imagined.&a