Pernambucco and traveling with instruments
Written by: Lily Wodzisz
Pernambuco is the primary material used for making classical string instrument bows, offering the qualities necessary for demanding techniques. The trade of Pernambuco began when the Portuguese colonized Brazil in 1500. The word Pernambuco has Portuguese origin, meaning “red/amber wood” or “Brazil wood.” With the only environment suitable for growing this wood being Brazil’s Atlantic Forests, the significant demand for such a versatile material has caused alarm. Illegal trade, high demand, and unsustainable market practices have accelerated deforestation, compromising the future of classical music.
Previously listed in Appendix II of the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES), Brazil is prepared to induct pernambuco into the Appendix I of CITES, which includes species threatened with extinction requiring the most severe level of protection. Appendix II is associated with Endangered Species and Appendix I is Prohibited Species, regarding trade and transport. This is quite concerning to professional musicians who rely on bows made of pernambuco. If this proposal goes into effect, it will become nearly impossible not only to buy and sell pernambuco bows but also to travel with them. There is still hope that the availability of this wood can be increased as its conservation has been an ongoing effort occupying the Brazilian government, conservation organizations, and musicians.
Currently, traveling with such bows is relatively easy if you are traveling outside of Brazil. If traveling within Brazil, you must seek a special CITES permit, documenting that the bow was outside of Brazil before February 23, 2023, or made legally, following strict guidelines, since then.
Concerns surrounding pernambuco are not the only setback and struggle associated with traveling with instruments. Musical instruments range in size, delicacy, material, and humidity sensitivity. When combined with changing travel restrictions on Pernambuco, these factors can make a musician's travels a nightmare.
Musicians traveling with a violin to trombone-sized instrument take it as their carry-on, cellists must buy an additional airplane ticket, and bassists have no choice but to put their bass underneath the plane. If overhead space is limited due to a full flight, then flight attendants may suggest you check your instrument. This would subject it to being thrown around by staff unaware of the monetary value and delicacy of the instrument, and hours underneath the plane in extremely cold and dry conditions. Sometimes musicians can reason their way out of this situation, but others are forced to reschedule their flight, for otherwise the safety of their instrument would be severely at risk.
Here at IAA, students come from all over the world and have a multitude of experience traveling with instruments. With all this experience comes learning how to manage these situations and the best ways to prevent them from escalating into difficult situations.
After gathering travel experience from IAA students, here’s a list of top tips for traveling with instruments:
Print out and carry The Department of Transportations agreement about the carriage of musical instruments.
Be sure to buy an extra carry-on bag or case for the instrument.
If checking a cello or bass, be sure to have a travel case in addition to a hard case.
Sign in for the flight as early as possible.
Get in line to board as soon as they call your boarding group.
If all overhead space is taken, talk to the flight attendants and ask if the instrument can be placed in the plane’s coat closet.
Be calm and kind.
Although traveling with instruments can be stressful, bringing music to new locations and cultures is an incredibly rewarding experience that makes it all worth it.