{"id":29115,"date":"2025-05-27T17:08:37","date_gmt":"2025-05-27T15:08:37","guid":{"rendered":"https:\/\/vichy-encheres.com\/?p=29115"},"modified":"2025-05-30T11:26:39","modified_gmt":"2025-05-30T09:26:39","slug":"le-pernambouc-une-essence-menacee-un-savoir-faire-en-peril","status":"publish","type":"post","link":"https:\/\/vichy-encheres.com\/en\/2025\/05\/27\/le-pernambouc-une-essence-menacee-un-savoir-faire-en-peril\/","title":{"rendered":"Le pernambouc : une essence menac\u00e9e, un savoir-faire en p\u00e9ril"},"content":{"rendered":"\n
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\u00c0 l\u2019heure o\u00f9 le Br\u00e9sil propose de reclasser le pernambouc en Annexe I de la CITES, Vichy Ench\u00e8res souhaite s\u2019associer aux nombreuses voix – musiciens, artisans, chercheurs et institutions – qui appellent \u00e0 une protection renforc\u00e9e de l\u2019esp\u00e8ce, sans pour autant compromettre la p\u00e9rennit\u00e9 de son usage culturel et artisanal.<\/p>\n<\/blockquote>\n\n\n\n

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Acteur du march\u00e9 des instruments du quatuor, nous sommes quotidiennement t\u00e9moins du r\u00f4le fondamental que joue le pernambouc dans la facture des archets et, plus largement, dans le patrimoine musical international. Nous avons conscience des enjeux \u00e9cologiques li\u00e9s \u00e0 la d\u00e9forestation de la for\u00eat atlantique br\u00e9silienne et saluons les efforts engag\u00e9s pour encadrer l\u2019exploitation de cette ressource. Toutefois, le classement en Annexe I – qui reviendrait \u00e0 une interdiction quasi totale de son commerce, y compris dans le cadre de pratiques r\u00e9glement\u00e9es – aurait des cons\u00e9quences directes sur la transmission d\u2019un savoir-faire reconnu, sans apporter de r\u00e9ponse structurelle aux causes majeures de la d\u00e9forestation.<\/p>\n<\/div>\n\n\n\n

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Plut\u00f4t que de freiner les initiatives vertueuses, nous soutenons le maintien du classement en Annexe II, accompagn\u00e9 d\u2019un renforcement des contr\u00f4les, d\u2019un soutien accru aux programmes de replantation et d\u2019un dialogue ouvert entre les \u00c9tats, les artisans et les institutions culturelles. Il nous semble ainsi essentiel de maintenir un \u00e9quilibre entre protection de l\u2019esp\u00e8ce et continuit\u00e9 des pratiques artisanales et musicales, dans un cadre r\u00e9glement\u00e9, responsable et durable.<\/p>\n\n\n\n

Il nous semble ainsi essentiel de maintenir un \u00e9quilibre entre protection de l\u2019esp\u00e8ce et continuit\u00e9 des pratiques artisanales et musicales, dans un cadre r\u00e9glement\u00e9, responsable et durable.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Le commerce du pernambouc<\/h1>\n\n\n\n
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Le pernambouc fait l’objet d’un commerce entre le Br\u00e9sil et l’Europe depuis le XVIe si\u00e8cle.<\/figcaption><\/figure>\n\n\n\n
\"Bois<\/a>
Bois de Pernambouc (Caesalpinia echinata), un arbre originaire du Br\u00e9sil. \u00a9botanico de Sao paulo, Arboretum<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Depuis la fin du XVIIIe si\u00e8cle, le pernambouc (Caesalpinia echinata) est utilis\u00e9 dans la fabrication des archets d\u2019instruments \u00e0 cordes. Originaire de la for\u00eat atlantique br\u00e9silienne (Mata Atl\u00e2ntica), ce bois rouge-brun, d\u00e9j\u00e0 exploit\u00e9 au XVIe si\u00e8cle pour ses pigments, a \u00e9t\u00e9 choisi par les archetiers europ\u00e9ens pour ses qualit\u00e9s m\u00e9caniques exceptionnelles, alliant densit\u00e9, \u00e9lasticit\u00e9, nervosit\u00e9 et p\u00e9rennit\u00e9.<\/p>\n\n\n\n

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Six archets de Fran\u00e7ois-Xavier TOURTE <\/a><\/div>\n<\/div>\n\n\n\n
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Ces propri\u00e9t\u00e9s physiques en font un mat\u00e9riau unique. \u00c0 ce jour, aucun substitut n\u2019a permis de reproduire les qualit\u00e9s acoustiques du pernambouc dans le jeu instrumental. Il reste aujourd\u2019hui le bois de r\u00e9f\u00e9rence pour la facture d\u2019archets de haut niveau.<\/p>\n<\/div>\n\n\n\n

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\"Archet<\/a>
Archet de violon en pernambouc fait par Nicolas L\u00e9onard Tourte et Fran\u00e7ois Xavier Tourte, vendu le 12 juin 2014 par Vichy-Ench\u00e8res.<\/figcaption><\/figure>\n\n\n\n
\"Archive<\/a>
Archive d’une carte de nombres de grumes de pernambouc de Pau Brasil d\u00e9couvertes dans une capitainerie.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Une r\u00e9glementation d\u00e9j\u00e0 en place<\/h1>\n\n\n\n
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Le commerce du pernambouc est encadr\u00e9 depuis 2007 par la CITES (Convention sur le commerce international des esp\u00e8ces de faune et de flore sauvages menac\u00e9es d\u2019extinction). Inscrit en Annexe II, il fait d\u00e9j\u00e0 l\u2019objet de restrictions, puisque tout transport international d\u2019archets neufs ou anciens contenant du pernambouc doit \u00eatre accompagn\u00e9 d\u2019un permis.<\/p>\n<\/div>\n\n\n\n

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Ce cadre r\u00e9glementaire permet d’assurer la tra\u00e7abilit\u00e9 du bois, tout en maintenant une activit\u00e9 artisanale fond\u00e9e sur la transmission des savoir-faire, la restauration d\u2019instruments anciens et la fabrication contemporaine.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Exemple<\/a>
Exemple d’un permis de circulation d\u00e9livr\u00e9 par la CITES.<\/figcaption><\/figure>\n\n\n\n
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La CITES r\u00e9git la classification des esp\u00e8ces en danger de la faune et la flore.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Une proposition de reclassement en Annexe I<\/h1>\n\n\n\n
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La liste des annexes de classification de la CITES<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Le Br\u00e9sil, pays d\u2019origine de l\u2019arbre, a r\u00e9cemment propos\u00e9 de reclasser le pernambouc en Annexe I de la CITES. Cette cat\u00e9gorie, qui correspond aux esp\u00e8ces menac\u00e9es d\u2019extinction dont le commerce est interdit sauf exception, rendrait la circulation d\u2019archets extr\u00eamement difficile, m\u00eame \u00e0 des fins culturelles, p\u00e9dagogiques ou artistiques.<\/p>\n\n\n\n

En pratique, chaque passage de fronti\u00e8re avec un archet en pernambouc n\u00e9cessiterait un permis sp\u00e9cifique. <\/p>\n\n\n\n

Les musiciens, notamment les membres d\u2019orchestres internationaux, devraient syst\u00e9matiquement justifier de l\u2019origine du bois pour chaque d\u00e9placement.<\/p>\n\n\n\n

Du c\u00f4t\u00e9 des archetiers, un tel classement entra\u00eenerait l\u2019arr\u00eat quasi total de la fabrication d\u2019archets \u00e0 partir de pernambouc – m\u00eame issu de fili\u00e8res contr\u00f4l\u00e9es.<\/p>\n\n\n\n

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Pour une solution \u00e9quilibr\u00e9e<\/h1>\n\n\n\n
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Le pernambouc est utilis\u00e9 dans la fabrication des instruments \u00e0 cordes qui composent lesorchestres interpr\u00e9tant des oeuvres connues de tous.<\/figcaption><\/figure>\n\n\n\n
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L\u2019interdiction totale du commerce du pernambouc, au lieu de renforcer la protection de l\u2019esp\u00e8ce, risquerait de fragiliser un \u00e9cosyst\u00e8me professionnel d\u00e9j\u00e0 tr\u00e8s encadr\u00e9. Une solution durable passerait donc par le maintien du classement en Annexe II, associ\u00e9 \u00e0 un renforcement des contr\u00f4les sur l\u2019origine l\u00e9gale du bois et la poursuite des actions de reforestation.<\/p>\n\n\n\n

Le patrimoine musical et artisanal que repr\u00e9sente la facture d\u2019archet ne peut \u00eatre dissoci\u00e9 de la pr\u00e9servation des mat\u00e9riaux qui le rendent possible. Il ne s\u2019agit pas d\u2019opposer protection de la biodiversit\u00e9 et transmission culturelle, mais de trouver un \u00e9quilibre permettant aux deux de coexister.<\/p>\n<\/div>\n\n\n\n

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La protection du pernambouc est un enjeu l\u00e9gitime et n\u00e9cessaire. Sa replantation, la lutte contre la d\u00e9forestation ill\u00e9gale et la pr\u00e9servation de la Mata Atl\u00e2ntica doivent rester des priorit\u00e9s. <\/p>\n\n\n\n

Le maintien du pernambouc en Annexe II, assorti d\u2019un encadrement renforc\u00e9 et d\u2019une coop\u00e9ration internationale active, appara\u00eet aujourd\u2019hui comme la voie la plus \u00e9quilibr\u00e9e. Elle permettrait de concilier la conservation de l\u2019esp\u00e8ce avec la poursuite d\u2019une activit\u00e9 artisanale et culturelle respectueuse des ressources naturelles.<\/p>\n\n\n\n

Pour plus d\u2019informations sur les actions de conservation et les enjeux r\u00e9glementaires, consultez le site internet de l\u2019IPCI<\/a>.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Pernambuco: an endangered species, a craft under threat<\/h1>\n\n\n\n
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In light of Brazil\u2019s proposal to reclassify Pernambuco under CITES Appendix I, Vichy Ench\u00e8res wishes to join the many voices \u2013 of musicians, makers, researchers and institutions \u2013 calling for greater protection of the species while safeguarding its use in music performance and bow making.<\/em><\/p>\n<\/blockquote>\n\n\n\n

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As an active player in the classical string instrument market, we are reminded daily of the fundamental role that Pernambuco plays in bow making and, more broadly, in the international musical landscape. We are deeply aware of the ecological issues resulting from the deforestation of the Brazilian Atlantic Forest and welcome the efforts undertaken to regulate the harvest of this resource.<\/p>\n\n\n\n

However, listing this wood species under Appendix I, which would amount to a near-total ban on its trade, including in relation to activities currently subject to regulation, would have direct consequences on the future of a traditional craft, without addressing the underlying issues that are the major contributors of deforestation. <\/p>\n<\/div>\n\n\n\n

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Instead of putting the brakes on worthy initiatives, we support keeping Pernambuco on Appendix II, while strengthening controls, increasing funding for replanting programmes, and fostering an open exchange between governments, makers and cultural institutions.<\/p>\n\n\n\n

Therefore, we believe it is essential to maintain a balance between the protection of the species and the continuity of the craft and musical practices, within a regulated, responsible and sustainable framework.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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The Pernambuco trade<\/strong><\/h1>\n\n\n\n
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Pernambuco has been traded between Brazil and Europe since the 16th century.<\/figcaption><\/figure>\n\n\n\n
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Pernambuco wood (Caesalpinia echinata), a tree native to Brazil. Botanico de Sao Paulo, Arboretum<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Since the late 18th century, Pernambuco (Caesalpinia echinata) has been used in the manufacture of bows for stringed instruments. This reddish-brown wood, native to the Brazilian Atlantic Forest (Mata Atl\u00e2ntica), was harvested as early as the 16th century for its pigments, and was the material of choice for European bow makers due to its exceptional structural qualities, which combine density, elasticity, responsiveness and durability.<\/p>\n\n\n\n

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Six bows by Fran\u00e7ois-Xavier TOURTE<\/u><\/strong><\/a><\/div>\n<\/div>\n\n\n\n

These physical properties make it a unique material. To this day, no substitute has been found which matches the acoustic qualities of Pernambuco for instrumental performance. It remains the standard material for producing bows of high quality.<\/p>\n\n\n\n

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\"Archet<\/a>
Pernambuco violin bow made by Nicolas L\u00e9onard Tourte and Fran\u00e7ois Xavier Tourte, sold on 12 June 2014 by Vichy-Ench\u00e8res.<\/figcaption><\/figure>\n\n\n\n
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Archive of a card showing the number of Pau Brasil pernambuco logs found in a harbour master’s office.<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Existing regulations<\/h1>\n\n\n\n
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The trade in Pernambuco has been regulated since 2007 by CITES (Convention on International Trade in Endangered Species of Wild Fauna and Flora). This wood species is listed in CITES Appendix II and, as such, already subject to restrictions, including the fact that any international movement of new or antique bows containing Pernambuco must be accompanied by a permit. <\/p>\n<\/div>\n\n\n\n

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This regulatory framework ensures the traceability of the wood, while allowing the continuation of a craft based on the transmission of traditional skills, the restoration of antique bows and the making of new ones.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Example of a movement permit issued by CITES.<\/figcaption><\/figure>\n\n\n\n
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CITES governs the classification of endangered species of flora and fauna.<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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The proposal to reclassify it under Appendix I<\/strong><\/h1>\n\n\n\n
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List of CITES classification appendices<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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The CITES classification of Pernambuco could change under a new proposal, making its trade and use impossible in the future.<\/p>\n\n\n\n

Brazil, the tree’s country of origin, recently proposed moving Pernambuco to CITES Appendix I. This appendix, which lists endangered species whose trade is prohibited except in exceptional circumstances, would make the movement of bows extremely difficult, even for cultural, educational or artistic purposes.<\/p>\n\n\n\n

In practice, each border crossing with a Pernambuco bow would require a specific permit.<\/p>\n\n\n\n

Musicians, particularly members of international orchestras, would have to systematically provide proof of the origin of the wood for each journey they make.<\/p>\n\n\n\n

For bow makers, such classification would lead to a near-total ban on making new bows from Pernambuco, even from controlled sources.<\/p>\n\n\n\n

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A balanced solution<\/h1>\n\n\n\n
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Pernambuco is used to make the stringed instruments that make up the orchestras that play the most popular music.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Rather than increasing the protection of the species, a total ban on the trade of Pernambuco would risk weakening an already tightly regulated professional framework. Maintaining the Appendix II listing, while reinforcing controls on the legal origin of the wood and pursuing reforestation initiatives, would constitute a more sustainable solution.<\/p>\n\n\n\n

The music and craft traditions underpinned by bow making cannot be disassociated from the preservation of the materials on which it depends. It is not a matter of pitching the protection of biodiversity against the preservation of culture, but of finding a balance that allows the two to coexist.<\/p>\n<\/div>\n\n\n\n

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The protection of Pernambuco is a legitimate and necessary pursuit. Its replanting, the fight against illegal deforestation and the preservation of the Mata Atl\u00e2ntica forest must remain priorities.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\ud83d\ude80 Suivez-nous !<\/strong><\/h2>\n\n\n\n