By Wale Omogoriola
Within the context of community based arts practice in England, cultural activity is increasingly valued for its contribution to access, participation, and social inclusion. At Salford Youth Zone, drumming is being used as a participatory cultural practice to support engagement, communication, and confidence among young people.
This work is facilitated by Kayode Bamgbose, a Manchester-based drummer and emerging cultural practitioner. His practice centres on participation, collective experience, and accessibility, positioning rhythm as a non verbal form of communication rather than as a performance outcome.
Kayode Bamgbose
Kayode Bamgbose
The sessions are structured to allow participants to engage through sound, movement, and repetition. This approach supports young people who may experience barriers to participation in more conventional learning or creative settings, including those who struggle with verbal communication.
Drumming in this context operates as a socially engaged practice. Activities do not rely on technical proficiency, academic ability, or prior musical experience. Instead, they prioritise shared participation and collective rhythm making, enabling contributors of different abilities to take part on equal terms.
Feedback from youth workers at Salford Youth Zone indicates increased levels of engagement among participants, particularly those who are often disengaged in other activities. Observations include improved focus, coordination, and collaborative behaviour over time.
By reducing hierarchy within the creative process, the sessions align with inclusive practice models that value access, agency, and shared ownership.
The relevance of this practice was demonstrated during Salford Youth Zone’s Black History Month programme. A facilitated drumming session explored African rhythmic traditions and their historical role in communication, storytelling, and community cohesion.
Rather than presenting cultural heritage as a static reference, the session positioned rhythm as a living and participatory practice. Young people engaged directly with the material, using sound and movement to explore identity and history through experience.
Written feedback from Salford Youth Zone staff following the event described the session as effective in supporting participation, cultural understanding, and meaningful discussion. The feedback highlighted both its educational value and its ability to create an inclusive environment.
The practice continues through regular monthly workshops at Salford Youth Zone involving young people and adults. These sessions contribute to a sustained programme of creative engagement rather than one off delivery.
The focus on consistency, accessibility, and participant led engagement reflects an understanding of long term cultural development at grassroots level.
Beyond skill development, the work supports personal expression, confidence building, and a sense of belonging. Rhythm functions as both a creative and communicative tool, enabling participants to engage on their own terms.
Within the wider arts ecology, this practice demonstrates the contribution of an emerging practitioner working at the intersection of culture, participation, and social impact. The work reflects a developing artistic practice with clear public benefit and relevance to contemporary discussions around inclusion, access, and youth engagement.
Taken together, this activity indicates growing professional capacity, cultural contribution, and future potential within the UK’s community and participatory arts landscape.