Dalbergia Preservation

Endangered Woods and the Instrument Industry

April 15, 2008 | Endangered Trees

As a former Guitar Maker, and working in the Music Industry for more than 25 years, I am more closely familiar with the types of woods used in Guitar Manufacturing than in any other industry. It’s that experience that started my venture into researching the current status of these endangered trees. Though I no longer build guitars, and I seem to have less and less free time to enjoy my passion for music, I still hold this industry close. In my former years as a guitar maker, it seemed most others in the industry were respectful to nature and reveered the gift of our natural resources. Most, at that time, were concerned with the impact we were having on the environment concerning the woods we used. Still holding on to those memories and perceptions, I recently attended a Guitar show in Miami Beach, Florida in hopes of reaching out to todays community of Luthiers (Instrument Makers) in hopes of gaining their interest and support for our Reforestation Project of Endangered trees. To put it mildly, I was very disappointed and suprisingly shocked by the overall lack of interest by those in this community.

For those who aren’t familiar with the instrument business, it’s no coincidence that most of the instruments that are highly desired today are instruments that were manufactured with wood that was sourced from the very trees that are most endangered today. The flagship species of our project, Brazilian Rosewood (Dalbergia Nigra) has always been at the forefront and considered today as the “Holy Grail” of tonewoods. The use of this species has become as traditional as apple pie in the manufacture of high quality instruments. Todays luthiers know this wood has proven over the decades, and centuries, to be the most suitable for this industry and is still sought after and used today. So from a logically thinking standpoint, one would assume this industry would have a vested interest in a project like ours. Did I ever get a wake up call.

Before going further, I must give credit to Henry Lowenstein and the crew responsible for the Newport Guitar Festival at which I am referring. As a musician and passionate collector of vintage instruments, Henry was kind and concerned enough to donate a booth for us to attend the show. So, to suggest or leave you with the impression there are none in this industry interested in supporting projects like ours would be unfair. However, the lack of interest I encountered at this guitar show was very disappointing.

With almost 90 independent luthiers, as well as other companies whose livelihood depends on this industry attending this show, our hope and goals in attending the event were to try and unite them in our efforts. We were attempting to bring awareness that we are making efforts to preserve these species from extinction and we needed their support to be successful. With the huge task we are facing in trying to preserve these species we are in great need of a united effort of support in order to continue our work and realistically hope to have any substantial impact on the problem. Those attending this event were only a small percentage and representation of the true number of luthiers and evergrowing interest in the field of luthiery. And from my observations and current research, and contrary to what most in this field believe, they are having a substantial impact on the remaining resources of hardwoods that contribute to the problems of deforestation. To say this industry is the major contributor to the problems of deforestation would be unfair, nevertheless this industry is definitely a substantial contributor and leaving their footprint. With an increase of interest, and increase in the number of people going into the business of custom guitar making, we are very concerned with the increase in pressure it will bring on these endangered species and demand on woods originating from our Rainforests.

In fairness, everyone contributes to the problems of deforestation to some degree. However, more and more individuals and companies are becoming aware of their contribution to the problem. Many, in some way, are taking initiative efforts or contributing in some way to compensate and create a counter balance. Although sadly it seems some just don’t care.

More times than not, in the guitar industry, I’m finding the attitude of non action to be a more accepted attitude. Most seem to think it’s enough to say: “Well that species is almost extinct so, I won’t use it any more”. Only to move on to another species from another country that may or may not be less threatened. An attitude that if it’s still available and legal to buy, it must be plentiful and it’s all justified. When in reality, most all the species traditionally used in this industry are endangered. Because a species is not listed on CITES (Convention of International Trade in Endangered Species) doesn’t necessarily mean it’s not under threat. It simply means the country of origin of that species has chosen not to bring it to the attention of others because the country doesn’t want to lose the millions of annual dollars the wood generates for that country. The truth is, Tropical Rainforests worldwide are under threat.

Traditionally, Brazil has always been a main source of supply for this industry. Dalbergia Nigra (Brazilian Rosewood) being the wood of choice. With evergrowing laws restricting importation of woods from Brazil, we’re seeing a trend of shift in the direction of supply and demand. The supply for exotic hardwoods used in guitars seems to be becoming more diverse. Many are using the phrase “Alternative Woods”. Wood suppliers now seem to be reaching out more to central america, africa, asia and madagascar. With less restriction and concern for deforestation by these countries, it is easier to source these diminishing woods from these countries. However, it has increased the spread of deforestation and strain on these suppliers of hardwoods from these regions of the world. So, the term “Alternative Woods” simply means sourcing of woods less restricted by international law. It doesn’t always mean the wood is any less threatened with extincion. Some good examples are other Dalbergia species being sourced from Madagascar and Africa. Because these countries governments have less restriction on environmental and deforestation regulation, this has created increased harvesting of the Dalbergia Species:

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  • African Blackwood-(Dalbergia Melanoxylon) Origin-Africa
  • Bois de Rose-(Dalbergia Maritima) Origin-Madagascar
  • Palisandra-(Dalbergia Baronii) Origin-Madagascar
  • Madagascar Rosewood-(Dalbergia Sp.) Origin-Island of Madagascar

Though these species are no less threatened with extinction, the demand and supply has increased due to lack of control by the governments of these two countries. Madagascar is currently a country of growing concern. It’s been reported that 50% of the remaining rainforests in this country have been clear cut in only the last 20 years. Predictions are that the remaining areas could be completely lost within the next three years if this rate of deforestation continues.

Yet we find very little concern of these facts within the Musical Instrument business. If we look at a little bit of history we can see the results of this practice in other species from Africa. Ebony is a good example. With the high demand of ebony from the international, national, and local level, some 50,000 ebony trees are cut down in Kenya every year. There are only a few pockets of ebony forests left in Kenya, with slow and inadequate action in replanting the tree. The situation is such that Kenya has to import ebony from Tanzania to meet the growing demand for their wood carving industry. The lack of adequate infrastructure in Tanzania makes many of the trees in remote areas hard to access, and therefore “protected” in a sense. It is estimated that the remaining supplies of harvestable wood in Tanzania will be depleted in twenty to thirty years, unless corrective and regenerative measures are taken.

The Kenyan and German government tried to propose a regulation of the ebony trade at CITES (Convention on International Trade in Endangered Species) in 1994, but were met with strong opposition from the delegates of Tanzania and Mozambique. With the revenues from the “instrument industry” as a vital part of the Tanzanian and Mozambique economies, such regulations would jeopardize one of their main resources for foreign exchange. However, if regulatory and regenerative measures are not taken, the ebony wood supply that is so important for both biodiversity conservation and the local economies will be threatened to extinction. It is therefore left up to national legislation and concerned conservation organizations to solve this complex dilemma. Mpingo (Ebony) failed to be included for protection under CITES.

Representatives from Kenya, Tanzania, members of the wood carving and music industries, CITES, and other major conservation groups were present to discuss a coordinated plan to preserve the ebony tree. It was concluded at the meeting that there was not enough research and data available on the trade, biodiversity issues, and local exploitation for it to qualify for a CITES proposal. The agreement reached from the Maputo meeting was to devote energy and research in understanding the factors involved in its exploitation (yearly wood extraction rates, local needs, biodiversity implications) so that all stakeholders could together implement an effective strategy to preserve the species. Unfortunately, lack of funding has hindered the process.

From the history of this species, we can see that beaurocracy and lack of funding play a major role in hindering resolutions to the problems of deforestation and endangered species. It seems to me those in the instrument industry who profit the most and have the most to gain from these species, would step up to the plate and be major contributors to reforestation projects that would help insure sustainable resources for the future.

 To be continued…