It’s the distinctive sound at any gathering of Canary Islanders; a symbol of identity for those living away and pride for those on the islands; and a mere four or five strings that can transport us to any moment in a Canarian’s life. The timple, affectionately known as the “little sound camel” among islanders, never stops playing. Recently, it resonated in the Parliament of the Canary Islands, where last week it embarked on a journey to become a Cultural Heritage Asset (BIC). The earliest references to the crafting of this instrument on the islands date back to the mid-19th century. Ironically, despite its significance, it was never considered for this special status before, which would grant it distinction. It’s a vital step for an instrument teetering on the brink.
Following a proposal by the Partido Popular, unanimously approved, the timple is now undergoing a process to explore declaring it as a BIC, under the category of Intangible Heritage: creating a comprehensive inventory to document and preserve its construction features or performance techniques; or to reinforce educational and cultural programmes promoting its learning. Yet, is this decision belated? Where does the timple stand, how would this inclusion help, and what would it mean?
Tenerife luthier David Sánchez is clear: "This is one more step, mainly to activate the necessary mechanisms to allocate budgets and projects for the instrument’s preservation." However, he also offers a cautious optimism. “I hope it’s an active step, not just a declaration, but something propelled forward… like a strum that makes the instrument sound,” he comments.
Sánchez, who has been dedicated to crafting these sound camels for over twenty years, still can’t grasp why it has taken so long to push for this recognition. He was present as parliamentary spokespeople advocated for the proposal and asserts that “it wasn’t about political colours or ideologies, but everyone rowing in favour of the timple.”
However, this unity must extend further. The Canarian instrument is at a crossroads due to the lack of generational succession in its crafting and the absence of institutional support in developing teaching or research materials to ensure its survival and legacy.
The luthier misses “institutional backing” that would enable researchers to document this heritage, while hoping that the BIC status propels it forward and “soon becomes a reality.”
“We enter into controversy if we claim the timple is in its prime,” he notes. Currently, there are few professionals crafting these instruments, with fewer than 30 across the Canary Islands, all over 40 years old.
The profession, considered part of craftsmanship, lacks formal training opportunities. Many artisans are self-taught while others have trained in guitar making; despite differences, they’ve adapted by modifying moulds to develop their own timple models.
“There is a natural imbalance, let’s say, as some builders continue to invest in these instruments, while others have left the profession due to lack of support,” Sánchez explains.
Another luthier, José Manuel Baritto, of Venezuelan descent and based in Los Realejos, Tenerife, agrees. “Very few make a living from this craft; it’s a survival race, and hopefully, the BIC designation will translate into direct measures to support craftsmen,” he says. One such measure could involve reducing the 21% VAT that all instruments sold on the mainland face.
Baritto has a physical shop in Madrid where his instruments are sold. This isn’t his only outlet; he also sells beyond Spain, with many of his “children,” as he refers to each timple he crafts, finding homes in Finland, Japan, the United States, or Canada.
“Common sense should apply. The timple is thriving but lacks creators; demand is growing, but artisans are not,” he laments. In his case, production has increased by 30% in the past year, from 90 timples in 2023 to 127 in 2024. “We’re not asking for much, just an understanding that the timple needs and deserves a generational handover,” he reflects.
Both luthiers emphasise the absence of craft training, particularly for timple making. “It’s not easy as you need specific space, machinery for wood cutting, and enough moulds, yet it’s not impossible. With will and collaboration, everything is achievable, and we can ensure it has a future, not just on stage, but beyond,” Baritto concludes.
In the Canary Islands, some retired artisans occasionally still craft a “little sound camel” highly valued by professionals who play them.
It’s worth remembering that some Canarians collect timples for their unique features. Among the most prized are those by the late Lanzarote luthier Simón Morales, renowned for their construction quality and as one of the first to create them in the 20th century. Another cherished legacy belongs to timple player and luthier Agrícola Álvarez from La Laguna, Tenerife, who continued crafting even after losing several fingers on his right hand.
Today, the timple has evolved so much that David Sánchez has innovated not only its form—some now electric or with avant-garde silhouettes—but also its materials. Without abandoning wood, he has crafted timples from carbon fibre and even "silent" timples designed for silent study with no sound box, allowing them to be strummed unnoticed by others.
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