Grinnell College Art Collection

SERI IRONWOOD CARVINGS

donated by Dale B. Furnish '62

This gallery was created by Egan Liias '05 and Cristina Wood '05, both Anthropology majors at Grinnell College, as a part of their 2004 summer research/M.A.P project. Work was done with the collection of Seri carvings donated by Dale B. Furnish '62, in order to create physical exhibition cases in Goodnow Hall and this virtual gallery to share Mr. Furnish's generous gift with the public. Our work also included research on the Seri Indians of Sonora, Mexico; focusing on numerous aspects of their culture, and the necessities for beginning the art of ironwood carving. We would like to give special thanks to Dale Furnish, Jim Lindell, Lesley Wright, Kathy Kamp, Fred Hagemeister, Paula Forbes, Grinnell College Anthropology Department, and the Faulconer Gallery for all their support.

View the collection on-line at: http://web.grinnell.edu/faulconergallery/serisite/index.htm

Information about the Seri

The Seri (or Kumkaak - "the people" in their native language), are a native hunter gatherer people who are located in the state of Sonora, a desert region in northwestern Mexico. Once numbering approximately 2000 in the 1890s, today they number only about five hundred (Ryerson, 1976). The Seris' traditional lifestyle has avoided farming and cultivation, animal domestication, and extended contact with other groups. The Seri have lived mostly in isolation, due in large part to their habitation of Tiburon Island, a small island in the Sea of Cortez. They are traditionally a matrilineal, monogamous people divided into four major clans (McGee, 1898), living in small, relatively nomadic groups; a necessity for the harsh habitat. The Seri livelihood has traditionally depended on fishing, but with a failed Mexican fishing cooperative in the 1930's and commercial shrimping disturbing the ocean ecology in the 1950's, the Seri have been forced to find other sources of income. The major alternative has become tourist and craft arts. With the birth of the ironwood carving industry, the Seri moved permanently off the Tiburon Island, and settled in camps such as Desemboque. In addition to the woodcarvings, the Seri also make woven baskets and necklaces made from shell, stone, seeds, and other virtually inexhaustible resources. (Ryerson, 1976) References: McGee, W.J. The Seri Indians. Government Printing Office: Washington. 1898. Ryerson, Scott H. Seri Ironwood Carving: An Economic View, in Ethnic and Tourist Arts: Cultural Expressions from the Fourth World, Nelson H. H. Graburn, ed. Berkeley: University of California Press. 1976.

Development of the Art

Timeline of the Seri Ironwood Carving Industry 1920's-40's: The Seri sell firewood seasonally at Kino Bay, including ironwood. Ironwood's other uses include making harpoons and other tools, toys, musical instruments, and balls for games. 1930: The entire Seri tribe lives on Tiburon Island, making occasional visits to the mainland.* Early 1930's: As the fishing industry takes of, the Seri work with Kino Bay Mexican fishermen. A Seri village is established at Desemboque.* 1938: Seri fishermen enter into a cooperative with Mexican fishermen. Seri sell their catch to traders who supply them with food and supplies.* Early 1950's: Jose Astorga carves small animals of pumice stone. He later becomes the innovator of ironwood carving. 1952: A rural Mexican school is established at Desemboque. Seri learn to read, do arithmetic, and speak Spanish.* Late 1950's: Commercial shrimp boats begin to work in Seri waters, disturbing the ocean floor ecology. This results in fewer sea bass, red snapper, and other fish important to Seri economy. Kino Bay, a Mexican fishing village, gains popularity as a resort. Tourism increases. 1961: Astorga experiments with ironwood carving. He focuses on utilitarian products: bowls, spoons, barrettes, and the occasional paperweight. 1963-4: Astorga first carves purely decorative items. Early subjects include depictions of sea life pleasing to the tourists who will buy his art. April 1963: An American tourist speaks to Astorga about ironwood carving. She is making a desert tortoise doorstop and possibly gives Astorga the idea of carving animal sculpture. 1965: A hunting preserve is established on Tiburon Island, upsetting traditional Seri economy. The Seri are encouraged to settle more permanently on the mainland. 1968: "Slim," an American carpenter vacationing in the Kino Bay area, introduces an alternate finishing method for the ironwood carvings to the sea turtle fat currently used. His method of wet and dry sandpaper and paste wax is adopted for its shiny finish.

Fall 1968: University of Arizona students make monthly trips to Seri villages to purchase ironwood carvings. Before now, only the Astorga family carved and sold their work minimally. The ironwood carving industry takes off. 1970's: The Mexican government takes a promotional interest in the Seri ironwood carvings. Half of the adult Seri population is engaged in carving. Several family members may work on a piece together: one carves, one finishes and polishes, etc. A family-worked piece averages one day to complete. Seri basketry becomes commercial in response to the ironwood carving tourist art industry. Traditional shapes are modified to fit consumer demand. Nov 1970: A seasonal nature in ironwood carving is noticed as birds, especially roadrunners, become popular with tourists for the next few months. Other animals are not sculpted during this time. 1972: Non-Seri Mexicans imitate Seri ironwood carving, sculpting animals outside the Sonoran environment and incorporating machine-assisted techniques. Aurora Astorga (daughter to Jose) first initials her work. 1974: BANFOCO becomes a large-scale buyer of ironwood carvings. The program seeks to provide a minimum monthly income and regular product demand for the Seri. 1980: Ironwood carving is widespread through Sonora and Baja California. 1982: Ironwood is harvested from the edges of Tiburon Island. 1991: Wood prices continue to rise, increasing four-fold in a decade's time, reaching $300 per cord. 19 May 1994: Ironwood becomes a protected species in Mexico.
References: * Graburn, Nelson H.H., Introduction, in Ethnic and Tourist Arts: Cultural Expressions from the Fourth World, Berkeley: University of California Press. Felger, Richard Stephen, and Mary Beck Moser, 1985, People of the Desert and Sea, Tucson: University of Arizona Press. Ryerson, Scott H., 1976, Seri Ironwood Carving: An Economic View, in Ethnic and Tourist Arts: Cultural Expressions from the Fourth World, Nelson H. H. Graburn, ed. Berkeley: University of California Press. St. Antoine, Sara, 1994, Ironwood and Art: Lessons in Cultural Ecology, in Ironwood: An Ecological and Cultural Keystone of the Sonoran Desert, Gary Paul Nabhan and John L. Carr, eds. Washington: Conservation International.

Tourist Art and the Seri

Tourist art is named such due to its nature as a souvenir or memento of a tourist's trip or experience. As a result, a tourist art piece may be less a reflection of a culture, than a reflection of that tourist's perspective or interpretation of an experience with the visited culture. A tourist art form may be a traditional art form that has appealed to consumers as being representative of the culture; or from a non-traditional art form that originated for the purpose of sale to those outside the community. The Seri Indians began commercial ironwood carving at the suggestion of a tourist, but its origin began with the carving of toys and harpoon points (Lindell, 2004). Jose Astorga is responsible for the introduction of purely asthetic sculpture, which he attributes to the positive response of tourists interested in buying his wares. Traditional crafts, such as basketry and jewelry making were also developed to be included as part of the tourist market (Ryerson, 1976). Consumer demand has shaped the carving industry, determining stylistic traits such as asymmetry and the abstract and representative forms of the carvings. To the tourist, the authenticity of a piece is based on his perception of the 'primitive' or 'native' natue of the carvings. For this reason the tourist may choose the most basic design over those which seem more complex or less primitive. To the tourist, those ironwood carvings which are most basic stylistically, are those with the most appeal. The artists themselves generally prefer more realistic, detailed sculptures. Early works included such features as nail heads for eyes and carved mouths, both details potential buyers found undesirable. The existence of the Seri as exotic and unique is important to the sale of the ironwood carvings. So much so, that today, non-Seri Mexican imitators attach stickers with the words "Handmade by Seri" to the bottom of their power-tooled carvings to fetch a higher price from unknowing tourists. Today, the production of ironwood carvings has all but ceased, as the raw ironwood is very hard to come by, which has further increased the value of the extant carvings. References: Lindell, Jim. Personal Interview. 30 July 2004. Ryerson, Scott H., 1976, Seri Ironwood Carving: An Economic View, in Ethnic and Tourist Arts: Cultural Expressions from the Fourth World, Nelson H. H. Graburn, ed. Berkeley: University of California Press.

The Artists

Aurora Astorga

Jose Astorga

Bottom photos from Johnston, Bernice, The Seri Indians of Sonora Mexico, Univ. of Arizona Press (1970). Also available at www.uapress.arizona.edu/onlinebks/seris/carvings.htm.

** Aurora Astorga ** Herminia Astorga ** Jose Astorga ** Maria Victoria Astorga ** Olga Astorga ** Yolanda Astorga ** Miguel Barnett ** Nacho Barnett ** Pancho Barnett ** Alfredo Lopez Blanco ** Antonio Lopez Blanco Lola Blanco ** Carmelita Burgos ** Maria Burgos ** Rosa Burgos ** Armando Torres Cubillas ** Miguel Estrella ** Alejandro Diaz Feliz

Alfredo Diaz Feliz ** Mercedes Diaz Feliz ** Ramon Lopez Flores ** Francisco Morales Herrera ** Lupe Herrera ** Jesus Lopez ** Ernesto Molina ** Nacho Molina ** Rosa Montoya ** Panchita Moreno Lopez Jos Juan Moreno Fernando Romero Manuel Romero ** Maria Romero Miguel Estrella Romero Efrain Estrella Romero ** Antonio Robles Torres ** Elvira Torres

** Represented in the collection

Gallery

SEA LIFE

BIRDS

TERRESTRIAL ANIMALS

SHELLFISH

MISCELLANEOUS

Sea Life (27)

A large part of the Seri's livelihood is based on a knowledge and use of the ocean creatures. The largest part of the Seri diet has always been fish, but other species from the ocean were also eaten historically, such as sea turtle, sealion, and shark.

name: Whale, large (1997.40) artist: Aurora Astorga height: 14cm width: 21cm depth: 56cm

name: Shark, large (1997.43) artist: Unknown height: 14cm width: 10cm depth: 44cm

name: Shark, curved-body (1997.44) artist: Jesus Lopez height: 10cm width: 10cm depth: 25cm

name: Crab (1997.49) artist: Alejandro Diaz Feliz height: 4cm width: 23cm depth: 12cm

name: Sailfish (1997.53) artist: Unknown height: 13cm width: 5cm depth: 27cm note: carved using powertools

name: Seal on Rock, small (1997.279) artist: Aurora Astorga height: 18cm width: 16.5cm depth: 15cm

name: Shark, large (1997.280) artist: Aurora Astorga height: 12cm width: 13cm depth: 35.5cm

name: Dolphin (1997.281) artist: Aurora Astorga height: 10cm width: 12.5cm depth: 26cm

name: Seal, small (1997.284) artist: Aurora Astorga height: 8.5cm width: 8.5cm depth: 19cm

name: Boat Prow Whale (1997.287) artist: Jose Astorga height: 12cm width: 10cm depth: 37cm

name: Whale, medium (1997.288) artist: Jose Astorga height: 5.5cm width: 8cm depth: 25.5cm

name: Sting Ray (1997.290) artist: Jose Astorga height: 9.5cm width: 19cm depth: 30cm

name: Seal on Rock, small (1997.292) artist: Herminia Astorga height: 8cm width: 7cm depth: 8cm note: carved from variegated stone

name: Seal (1997.294) artist: Yolanda Astorga height: 10.5cm width: 12cm depth: 29cm

name: Sea Turtle, swimming (1997.302) artist: Nacho Barnett height: 7cm width: 24.5cm depth: 17.5cm

name: Sea Turtle (1997.304) artist: Pancho Barnett height: 6cm width: 13cm depth: 14cm

name: Dolphin (1997.310) artist: Rosa Burgos height: 7cm width: 6cm depth: 22cm

name: Shark, curved-body (1997.313) artist: Alejandro Diaz Feliz height: 9cm width: 6cm depth: 24.5cm

name: Crab (1997.315) artist: Alejandro Diaz Feliz height: 3.5cm width: 20cm depth: 11cm

name: Manta Ray (1997.321) artist: Miguel Estrella height: 4.5cm width: 12cm depth: 21cm

name: Seal, medium (1997.328) artist: Francisco Morales Herrera height: 12.5cm width: 13cm depth: 24.5cm

name: Dolphin (1997.332) artist: Maria Romero height: 7cm width: 9cm depth: 31cm

name: Sea Turtle, swimming, large (1997.334) artist: Armando Torres Cubillas height: 13cm width: 28cm depth: 45cm

name: Seahorse, large (1997.277) artist: Aurora Astorga height: 42cm width: 5cm depth: 17cm

name: Seal on Rock, large (1997.303) artist: Pancho Barnett height: 25.5cm width: 15.5cm depth: 20.5cm

name: Seahorse, small (1997.326) artist: Nacho Molina height: 23cm width: 4cm depth: 6.5cm

name: Dolphin, diving (1997.331) artist: Antonio Robles Torres height: 22cm width: 6cm depth: 9cm

Terrestrial Animals (13)

There are numerous species of land dwelling animals that the Seri use for food, including deer, bighorn sheep, peccary, rabbit, and chuckwalla (a large lizard). There are also a number of smaller creatures like fox, skunk, mountain lion and a huge variety of reptiles that are native to the Sonoran Desert.

name: Bear (1997.47) artist: Yolanda Astorga height: 11cm width: 8cm depth: 16cm

name: K'tam (male figure), small (1997.45.2) artist: Olga Astorga height: 20cm width: 11.5cm depth: 5cm

name: K'wam (woman figure), small (1997.45.1) artist: Olga Astorga height:19cm width: 9.5cm depth: 5cm

name: Rattlesnake, long (1997.50) artist: Miguel Estrella height: 1.5cm width: 4c depth: 64cm

name: K'wam (woman figure), large (1997.278) artist: Aurora Astorga height: 38.5cm width: 14cm depth: 7cm

name: Rattlesnake, fat (1997.283) artist: Aurora Astorga height: 5cm width: 8cm depth: 26.5cm

name: Deer (1997.311) artist: Alejandro Diaz Feliz height: 27cm width: 14cm depth: 7cm

name: Bighorn Sheep, rearing (1997.312) artist: Alejandro Diaz Feliz height: 37cm width: 12.5cm depth: 18cm

name: Coyote (1997.314) artist: Alejandro Diaz Feliz height: 27cm width: 16cm depth: 8cm

name: Bighorn Sheep, large (1997.329) artist: Panchita Moreno height: 28cm width: 12cm depth: 27cm

name: Scorpion, small (1997.337) artist: Elvira Torres height: 3cm width: 4.5cm depth: 11cm

name: Scorpion, large (1997.336) artist: Elvira Torres height: 10cm width: 11cm depth: 36cm

name: Yaqui Deer Dancer (1997.338) artist: unknown height: 33.5cm width: 9cm depth: 13cm

Birds (27)
There are an abundance of bird species in Seriland, however, only a very few have an economic or dietary importance. Duck is the only species which effort is made to obtain for food, the majority of local species are too small to be worthwhile. Pelican skins are used for making robes to sell to tourists on rare occasions. The only other use for birds is for arrow feathers.

name: Owl, small (1997.41) artist: Aurora Astorga height: 16cm width: 13cm depth: 11cm

name: Quail (1997.42) artist: Jose Astorga height: 11cm width: 7cm depth: 27cm

name: Seagull, flying (1997.48) artist: Alejandro Diaz Feliz height: 5cm width: 36cm depth: 14cm note: supported on base 4cm x 8cm x 14cm

name: Roadrunner (1997.51) artist: Ernesto Molina height: 11.5cm width: 7cm depth: 23cm

name: Quail, head turned(1997.274) artist: Aurora Astorga height: 24.5cm width: 31cm depth: 14cm

name: Eagle, flying (1997.276) artist: Aurora Astorga height: 3.5cm width: 41cm depth: 15cm

name: Roadrunner, small (1997.285) artist: Aurora Astorga height: 9.5cm width: 7cm depth: 22cm

name: Quail, small (1997.286) artist: Aurora Astorga height: 11.5cm width: 6.5cm depth: 18.5cm

name: Hummingbird (1997.289) artist: Jose Astorga height: 12.5cm width: 7cm depth: 33.5cm

name: Quail, fine plume (1997.291) artist: Herminia Astorga height: 9cm width: 5.5cm depth: 20cm

name: Great Tailed Grackle (1997.296) artist: Miquel Barnett height: 11cm width: 6cm depth: 30cm

name: Pelican, sitting (1997.301) artist: Nacho Barnett height: 20cm width: 10cm depth: 21cm

name: Quail (1997.316) artist: Alejandro Diaz Feliz height: 9cm width: 6cm depth: 22cm

name: Quail, large (1997.317) artist: Mercedes Diaz Feliz height: 18cm width: 9.5cm depth: 21cm

name: Quail, medium (1997.318) artist: Mercedes Diaz Feliz height: 14cm width: 7cm depth: 16cm

name: Quail, small (1997.319) artist: Mercedes Diaz Feliz height: 10cm width: 6cm depth: 13cm

name: Owl, large (1997.273) artist: Aurora Astorga height: 34.5cm width: 24.5cm depth: 19cm

name: Pelican, sitting (1997.275) artist: Aurora Astorga height: 28cm width: 9cm depth: 14cm

name: Quail, miniature (1997.320) artist: Mercedes Diaz Feliz height: 6cm width: 4cm depth: 8cm

name: Quail, large (1997.323) artist: Alfredo Lopez Blanco height: 13cm width: 11.5cm depth: 30cm

name: Great Tailed Grackle (1997.325) artist: Ramon Lopez Flores height: 9cm width: 6.5cm depth: 22.5cm

name: Quail (1997.327) artist: Rosa Montoya height: 10cm width: 7cm depth: 17cm

name: Owl, medium (1997.330) artist: Panchita Moreno height: 21cm width: 12cm depth: 9.5cm

name: Eagle, large, sitting (1997.282) artist: Aurora Astorga height: 40cm width: 26cm depth: 16cm

name: Osprey, flying (1997.331.1) artist: Armando Torres Cubillas height: 3cm width: 27cm depth: 12.5cm

name: Osprey, flying (1997.331.2) artist: Armando Torres Cubillas height: 7cm width: 27cm depth: 14cm

name: Eagle, flying (1997.335) artist: Armando Torres Cubillas height: 7cm width: 43.5cm depth: 22cm

Shellfish (10)
The Seri Indians have traditionally taken advantage of the wide variety of shellfish as a source of food. They have also used the shells as tools and to make beaded necklaces to sell to tourists.

name: Shell, fluted (1997.46) artist: Olga Astorga height: 11cm width: 9cm depth: 4cm

name: Shell (1997.52) artist: Carmelita Burgos height: 10cm width: 10cm depth: 18cm

name: Shell, small, fluted (1997.293) artist: Olga Astorga height: 2.5cm width: 5cm depth: 8cm

name: Shell, large (1997.297) artist: Miquel Barnett & Maria Victoria Astorga height: 11.5cm width: 12.5cm depth: 33.5cm

name: Shell (1997.305) artist: Carmelita Burgos height: 6.5cm width: 8cm depth: 10.5cm

name: Shell (1997.306) artist: Carmelita Burgos height: 6.5cm width: 8cm depth: 19cm

name: Shell, large (1997.307) artist: Maria Burgos height: 9cm width: 11.5cm depth: 28cm

name: Shell, medium (1997.308) artist: Maria Burgos height: 6.5cm width: 7cm depth: 16cm

name: Shell, small (1997.309) artist: Rosa Burgos height: 4cm width: 5.5cm depth: 5cm

name: Shell, medium (1997.322) artist: Lupe Herrera height: 5cm width: 6.5cm depth: 10.5cm

Miscellaneous (5)
The Seri Indians historically carved ironwood and other dense woods into a variety of utilitarian goods, such as bowls, spoons, toys, and harpoon points. As ironwood carving became accepted as an viable economic good, animal carvings replaced utilitarian goods.

name: Knife (1997.295) artist: Miquel Barnett height: 3.5cm width: 1.5cm depth: 38cm

name: K'wam (female figure), unfinished (1997.298) artist: Miquel Barnett & Maria Victoria Astorga height: 30cm width: 12cm depth: 5cm

name: K'tam (male figure), unfinished (1997.299) artist: Miquel Barnett & Maria Victoria Astorga height: 34cm width: 10.5cm depth: 3.5cm

name: Bullroarer (x2) (1997.300) artist: Miquel Barnett & Maria Victoria Astorga height: .5cm/.5cm width: 3cm/3.5cm depth: 18.5cm/21.5cm

name: Harpoon (1997.324) artist: Antonio Lopez Blanco height: 3cm width: 8.5cm depth: 33.5cm

About the Donor

Dale Furnish, '62, grew up in Iowa City, Iowa and became a history major at Grinnell College
in 1958. He then went on to specialize in Latin American comparative law. He now holds emeritus status at Arizona State University. Growing up he lived in Texas, Venezuela, and Saudi Arabia, giving him a worldly curiosity and an early taste for travel. Over the years his work has led him to Central and South America, particularly the Mexican state of Sonora. A law conference in Kino Bay in the early 1970's gave him his first exposure to Seri ironwood carvings. The first piece he collected was a carving of a shark. Through his interactions with Jim Lindell, a Seri art trader, he expanded his collection to form a representative sampling of carvings, and later to frequent Seriland and meet the carvers themselves. Mr. Furnish had the following to say about the Seri carvings: "I think that the carvings attracted me because the wood was so warm and expressive, and I like representational art. Ironwood really is a special medium, with heft and depth of grain and luster and lots of character. The carvings are great to hold. The Seri carvers did the animals that inhabited their world, and captured the essence of those animals in a way that spoke to me."

Additional Information
This is a short annotated bibliography of some of the texts we used in researching the Seri: Felger, Richard Stephen and Mary Beck Moser, People of the Desert and Sea, University of Arizona Press,Tucson (1985). This book gives an in depth look at all facets of Seri Indian life; climate, dress, myths and customs and ironwood carving, and everything in-between. The author also provides an exhaustive list of plant life native to the Sonoran desert, along with the uses that the Seri have for each. One of our most informative texts. Ryerson, Scott H., Ironwood Carving: An Economic View, in Nelson H. H. Graburn, ed., Ethnic and Tourist Arts: Cultural Expressions from the Fourth World, pp119-136, University of California Press, Berkeley (1976). This chapter provides a good understanding of the development and innovation of the ironwood carving craft, from its beginning with Jose Astorga up until the time the book was published. The author gives a small amount of background information about the Seri, but the main focus is the analysis of the carving as a tourist fueled economic activity. Ryerson approaches the subject with the understanding that ironwood carving is a substitution for the traditional means of economic survival, the fishing industry. Burckhalter, David, Among Turtle Hunters and Basket Weavers: Adventures with the Seri Indians, Treasure Chest Books, Tucson (1999). This book provides a simple overview of Seri culture and the area in which they live. There are numerous full color photos of Seri people as well as the ironwood carvings and basketry. Burckhalter also includes a short section based on stories from the past and how the Seri have adapted to changing times. St. Antoine, Sara, Ironwood and Art: Lessons in Cultural Ecology, in Gary Paul Nabhan and John L. Carr, eds., Ironwood: An Ecological and Cultural Keystone of the Sonoran Desert, pp 69-85, Conservation International, Washington (1994). This article touches on the environmental impacts of ironwood carving done by Seri Indians, as well as the Mexican imitators. It also goes through the innovation of the art and the ways in which a conservation program could be instituted, namely through the Seri carvers. The author also offers four alternative substances that could be used to replace the endangered ironwood. For a complete list of our sources please send us an email via the comments link The Furnish collection numbers 84 pieces.

Appendix
James M. Palmer (Grinnell, 59) has accumulated a modest collection of Seri ironwood carvings since moving to Tucson Arizona in 1970. His collection numbers eight pieces, acquired during the period from 1975 to 1985. He has been concerned about the disposition of his carvings, desiring that they be placed with a good collection. He was astonished to find the Furnish Collection at Grinnell College. He contacted Mr. Furnish, who indicated that these pieces would indeed be a welcome addition. The following pages show these eight pieces of Seri ironwood art.

name: Quail artist: Aurora Astorga height: 10 cm width: 6 cm depth: 22 cm

name: Seal artist: Jose Astorga height: 11.5 cm width: 8 cm depth: 26 cm

name: Ram artist: Jose Astorga height: 13 cm width: 9 cm depth: 7.5 cm

name: Owl artist: Jose Astorga height: 12 cm width: 10.5 cm depth: 7 cm

name: K'tam (male figure) artist: Maria Victoria Astorga height: 27.5 cm width: 12 cm depth: 5 cm

name: K'wam (female figure) artist: Maria Victoria Astorga height: 26.5 cm width: 12 cm depth: 5 cm

name: Roadrunner artist: Roberto Camposano height: 12 cm width: 6 cm depth: 30 cm

name: Pelican artist: Unknown height: 20 cm width: 5 cm depth: 7 cm