ディヴァイン | Divine | 1980 | Essay #4 |

Seeing as it is Pride this month! I shall be focusing on the fantabulous Divine! Government name Harris Glenn Milstead (1945-1988) was the infamous North American Queen & Drag artist. Specifically, Divine was known for being a character actor, part of her act is well known for its eccentricity. My personal exposure to Drag lite was Pantomine Grand Dames as a kid, and later when my friends made me watch RuPaul in art classes, so to me this is nothing new, the over the top, the glitter, the upstaging is all part and parcel.

In 1970, Divine worked as a hairdresser, later opening his "Divine Trash" in Massachusetts Opening, a vintage store which sold things Divine found in other secondhand or vintage shops, open air markets and car boot sales. Divine performed first in the counterculture era of Baltimore, Maryland and friend of the black comedy director John Waters, in the well known Pink Flamingoes (1972).

Pink Flamingoes (1972) John Water and Divine

By 1974 Divine, the filthiest being alive my love, was working onstage in ye olde San Fran. The one with the fault. By 1981 Divine regraced Waters films in Polyester (1981) and Hairspray (1988) which is today immortalised as the theater show which singlehandedly caused the 1980s ozone crisis seemingly. Divine also produced disco because they are the flithiest being walking the earth at this point. Divine eventually died as he lived, from eating filthily and living filthily. Literally his arteries went on strike by 1988. 

Drag to me at least is excess having a ménage de trois with glamour and silicone. Drags Divine was known for its trashy nature and this plays into his character actor background and drag performances which fuel that notion in the camp aesthetic. One of the aspects where LGBTQIA+ culture crosses over with KTC is that of the Drag performer who interacts with Gay and Queer cultural markers and processes this through a camp lense. In 1980, Divine wore something described as a Kimono. This is interesting as whilst it does not fall under the category of a Kimonope, it certainly is not the shop standard pattern cut for a Japanese kimono either. I shall be ripping the 'Traditional dress' argument a new one here in other words. 

Drag culture subverts and transgresses using camp as a tool to overcome rigid and stringent gender boundaries, beauty standards and ideas about fashion, culture and identity each to a differing extent dependent on a case by case basis. As evident by Mae West's Drag 1927, the Maltese Falcon 1931, Lindsay Kemp in the 1960s, Divine in 1980 and Rupauls Kimonogate in Season 8 Episode 5, KTC is clearly a continuing reference point or touchstone for Drag performance and aesthetics. Drag queens are experts (and some of them think they are) at referencing popular culture, so music videos, movies etc. They also operate within and around gender which is often strictly policed. I.E. they are more than aware than the average person of the gender and cultural meanings and semantics behind aesthetical choice.

American Kimono Textile Culture

The Red Kimono Poster (1925) | Seattle Restaurant (1963)

In Divines 1980 case, I would therefore take away that Divines Kimono is a reflection and subversion of the Kimonope, rather than a form of cultural appropriation. If anything, in reality it is mocking the people who think the Kimono is a 'national costume', 'native dress' or 'traditional garment'. To explain, Kimono after the 1950s fell away from its mores from 1900-1940 of being an exotic, expensive textile, to being a garment worn by a defeated nation when Japan became occupied by the USA from 1946-1952. During this time, elements of society which pushed Longingism, which gained traction from 1885-1920s America with the rise of Asian labour movements and immigration into the USA, created the Kimonope, which associated the Kimono as an 'Oriental' garment.[4]

US President signing the Immigration Act of 1924 (1924)

When the 1950's arrived and Kimono exchange become more frequent due to the onion lifestyle, the KTC in the USA heavily featured the Kimonope and the Kimono. As Americans were more familiar with the Kimonope, this form of USKTC was proliferated through popular media and eventually popular culture, leading to the emergence of the Kimorobe as I henceforth shall name it. If the Kimonope is the construct ('geisha outfits' at the dollar tree) Kimorobe are the Bathroom and loungewear robes offshoots of the Kimonope. Kimorobes are not always as explicitly harmful to Asian-Americans and I will explore their relation to tea gowns next time, but labelling a garment as having a 'Kimono sleeve' none the less is a form of cultural appropriation, rather than cultural appreciation. 

The Kimonope and Kimorobe, are all American garments inspired by Kimono and some are incredibly harmful stereotypes, typecasting and dangerous constructs of Asian-Americans. Drag on the whole suffers from these same pressures and is a rejection of having to conform to gender norms, aesthetics and standards. When Divine was wearing a 'Kimono', as with most other Drag artists, it is a reference to popular culture. In 1980, the Kimono was a relatively unknown garment which had become seen as part of 'old Japan' (a revival in 1980 due to the Japanese economy reversed this) and in this context, Divine is referencing the camp aspect of the vulgarity of the 1980 Kimonope. 

Divine wears and references American KTC here, not JKTC, and is subverting the 'trashy' regard Kimono by this point held in American KTC which at this time regarded 'Kimono' as long sleeved bath robes or loungewear. Items which are easily discarded, not to be seen in public and tasteless or gaudy, rather like old stained sweat pants. In this sense, Divines Kimono is camp, filthy and Divine, a reflection of everything Statesians claimed they did not want but secretly lusted after anyway.

A supposed symbol of almightiness (1945)

As for the traditional garment argument (with its legacy of white supremacy) I have explored this earlier in Essay #3. The Kimono is a transnational garment construct, just like a top or trousers. To claim it belongs to one nation is an ethnocentric proponent of Orientalisation of Japanese textile culture and history pushed usually by western journalists looking to jump on the misguided 'woke' wagon. The argument that Drag Queens may not wear Kimono in drag performance for example is dimissive of Asian Drag Queens, and also destroys the credibility of the claim of cultural appropriation. For example, Ms.Hodgeon writes in 2018 how the Kimono holds 'religious' values.[2] This dismisses entirely the fact that most of the 'Kimono' mentioned are made from patterns made for everyday wear (yes shorter length hemlines and rips are acceptable as part of Japanese street style fashion, oddly enough) and that religious Wafuku uses entirely ceremonial Junihitoe dress, which is a whole other pattern of Kimono than the ones worn by drag artists, which Ms.Hodgeon describes as 'ethnic dress'. Are jeans with holes western 'ethnic dress' or simply the acceptable beauty standard imposed by a top down heavy fashion industry from a country which literally and still does refuse to treat Asian-Americans as human beings worthy of its attention, instead infantilising them and uplifiting its own acceptable beauty standards. Hmmm I do wonder.... .

This level of ignorance of the actual working relation of KTC and ethnocentric thought is part of white supremacy. It is quite literally a majority white beauty standard which has been pushed to Japanese audiences in the US and Japan and which has beaten 'traditional' dress into a corner as a 'dying industry' in need of a white saviour to rescue it from the clutches of obscurity and filth. A 'filth' which as part of American KTC, Divine clearly found aesthetical relation to and drew upon to perform a version of camp which continues into the present day.

In context therefore, we see that in the rejection of AKTC colonial beauty standards, Kimono can be used to exemplify new ideals of beauty or aesthetical standards. The Kimono Divine wears reflects a bougie, Camp take on the Kimono as loungewear in AKTC denoting by now old timey or 1910's 'high taste'. Indeed this is a continuation of relating to the subaltern native when oppressed and minority groups take to each other for solidarity, seen since the time of Oscar Wilde and his Hellenic 'Japan' to escape the standards and ideals of Victorian Britain in rejection and transgression.

Essay #5 will be on the novel overlap KTC loungewear or the tea-gown and the Kimorobe.

[1] https://en.wikipedia.org/wiki/Divine_(performer)

[2] http://thebroadonline.com/cultural-appropriation-in-the-drag-community/

[3] https://divineofficial.com/post/111906099475/divine-1980-photo-robyn-beeche-illusionary

[4] https://en.wikipedia.org/wiki/History_of_Japanese_Americans

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秩父銘仙 | Chichibu Meisen | Chichibu Woven Silk | Fabrics #4

Chichibu Meisen is a double sided woven silk made in Chichibu, Saitama, Honshu. CM is made from raw, dupioni raw, floss, or spun silk made from waste cocoons and waste raw silk, and is a popular everyday silk for its durability and easy capacity to wish and reuse it.[1] 

Historically CM began around the time sericulture and silk weaving was introduced from Korea or China between 300-800AD.[2] Local traditions hold that this was the local Shinto deity Chichibu Hiko-no-mikoto who did this.  The local topography was heavily built up with mountains, which made rice grops difficult to grow, so sericulture eventually become the main local commodity in Chichibu. CM was at first due to its nature as a stubborn material or Futo-Ori (| Thick weave) made from waste product, worn by Chichibu farmers. In time, CM spread outside of Chichibu, and was known as Oni-chichibu, and eventually became an acceptable fabric for the Samurai class to wear due to its durability and sheen. This production was well established by the 18th century.[4]

Chichibu Saitama

A Moga (1927)

By the 1890s, the Japanese goverment sensing the encroachment of Westernisation and seeing the effect of Western colonisation in Asia, began to promote traditional Japanese arts and art or cottage industries. These led to the promulgation of traditional trades like CM production becoming joint with technology, producing new techniques like Hogushi-Ori (Virgin Thread sorting).[4] In 1908, the first Hogushi Nassen (ほぐし捺染 | Loose silk threads first dyed and then woven) technology was patented in Japan allowing for more elaborate patterns to be created.[1] Meisen then by the 1920's with an increased production capacity due to the increase of heavy textile industry began to become worn as a staple in womens fashion, most commonly worn by the Moga (モダンガール | Modern Girl).[5] The colours of Chichibu Meisen were particularly bright, and the patterns made allowed for a greater variation in Ji-monnyu than had previously being available to Kimono designers.[4] Moga often bought these kimono in Department stores, which popularised art deco Meisen and showed the modernisation of the 'New Japan' (itself arguably an adapted Western ideology deriving from contact with Western through 1853-1876), with skyscrapers, high-speed trains, and plane motifs from 1910-1930. From 1930-1940 with the changing political landscape of Japan, these patterns frequently became more charged and tied to national patriotism, such as Meisen depicting military themes, often made in rayon, mainly in regions north of Tokyo.[6] When Longingism took hold in the court of the MacArthur shogunate, Kimono become 'the old thing to wear' so to speak and 'modern Japan' once again took off from where Old 'New Japan' had taken and production of new Meisen declined rapidly, reverting back to workwear rather than being a trendy garment from the 1960s onwards, and may have seen an uptick of resurgence as a fashion item from 1990-2009 in Japanese and foreign womens Kimono from the bright designs of Taisho Meisen kimono, a large number of which survive because they are Chichibu Meisen as part of the historical revival moment in Kimono-Hime, popularized in the west at least in the fanzine Kimono Hime.

A Meisen Haori with Battleship motif (1926-1945) CC

Chichibu Meisen is made with leftover silk threads and is created by Temporal weaving, Printing, Steaming, Drying, Rollback & Weaving. Weaving is first done by sorting the white warp threads into the desired length and number and set in the loom and the weft threads wound around tubes. Temporal weaving refers to creating the desired pattern with the weft threads in the loom which prevents shrinkage during the Katazome process. The warp threads are then spread from the tubes over a printing stand and Katazome is applied to them using one stencil at a time. A frame with the pattern inside is placed atop the warp thread stand and the pattern is gradually applied by moving the frame and applying dye through the stencil with a brush. More than one colour requires the warp threads to be redyed as many times as there are colours. By dying the weft and warp threads this creates the double-sided effect or Hogushi Nassen technique of CM. The threads are then refined by immersing them in Shinsen which bonds the dye agent to the threads, then placed in a Mushibako (steam box or tube) which fixes the dye to the threads. The threads are removed and left to dry by tumble drying. The warp threads are then rolled back and check over and adjusted as needed, a process known as rollback.  

Weaving is then done by setting the warp threads in the loom and sorting and loosening (Hogushi-Ori) the weft threads to fit the end pattern using hand-thrown/flying shuttles with a treadle. The shuttles slide the weft threads in the loom, auto-weaving machines and shuttle looms which replace weft threads are also used to prevent breakage. Hogushi-ori/-nassen (Loose sorting/dying) creates the double sided sheen when the warp and weft threads join in CM silks, which was valued by Samurai for its durable and shiny qualities.[1] CM is still made today in Chichibu, being regarded a Traditional Crafts of Japan in 2013; to learn more you can visit the Meisen Kan Musuem in Chichibu.[3]

Fabrics #5 will be on the wider history of Meisen fabrics, next post will be on the Dori-Kimono style.

Bibliography

[1] https://kogeijapan.com/locale/en_US/chichibumeisen/

[2] See Fabrics #3

[3] http://www.meisenkan.com/english/

[4] https://www.ana.co.jp/en/gb/japan-travel-planner/saitama/0000013.html

[5] https://www.researchgate.net/publication/235733818_Why_was_Meisen_Japan's_traditional_working_clothe_accepted_well_in_the_market_as_everyday_clothes_and_stylish_garments_between1900_to1930

[6] https://www.thecityreview.com/kimono.html

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吉田 半兵衛 | Yoshida Hanbei | 1664-1692 | Bijin #4

Yoshida was the leading Ukiyo-e illustrator in Kyoto and Osaka (in 1664-1689). Yoshida worked primarily unlike his contemporaries in E-maki woodblock prints rather than both artistic and print woodblock designs. Yoshida was the first in the Kamigata area to sign his works, the first being the 1685 Yamato Nijuushi-kou (日本廾四孝| 24 Filial Piety paragons of the Yamato) prints.[4] As such, Yoshida was a prolific illustrator and he was published around 1000 illustrations throughout the Kanbun and Genroku eras in a variety of genres for adult and children audiences. He is particularly well regarded for is drawings for Ihara Saikaku's Ukiyo-zoshi (浮世草子|Notes of the floating world; or Merchant Pleasure Pursuit Genre) Amorous Life of X Series.[1][4]

Yoshida's style is said to be based on today unknown illustrators based around Kyoto and his teacher Shougorou whose work is no longer extant, the Tosa School (1300-1499) and Muromachi E-hon (室町絵本| Muromachi; 1336-1573; Buddhist Picture Books) and the influence of Moronobu.[4] Sumizuri-e in this time were still rather small and had limited space allocation, so instead his Shunga-e was were he produced his most individualistic work. Although his main medium held him back, his Sumizuri are still highly decorative pulling from Japanese and Buddhist decorative, calligraphic and spacial compositional traditions which provide their images main distinctive traits, features and ambience in the otherwise limited medium typical of early Sumizuri-e mannerisms and line qualities which whilst present in Yoshida's art, work around these limitations which come off as Yoshida's more loose distinct charm.[4] Yoshida's output dropped off after 1690 and his work was taken over by 2 of his now anonymous students until 1703.[2][3] 

Coiffure for a Wakashu (c.1680) Yoshida Hanbei

Dress Manuals

During the Genroku period (1683-1703),  becuase of　 ❶Stabilisation policy after Japan's civil war (1590-1615),　 ❷Sumptuary legislation in reaction to the wealth of the merchant classes (1604-1685) and 　❸Regulation of export and imports of foreign trade in silk and cotton (1615-1685), wealth began to accumulate to the Chonin classes.[1] These 3 factors lead to Genroku society becoming increasingly settled in new urban cities like Edo, interconnected and wealthier as a result. 

This new quasi-middle class of labourers, merchants and artisans eventually created GKTC and one of their greatest customers were the women whose furisode now began to lengthen, whose coiffure began to more structured and whose wealth was beginning to accumulate. GKTC had stringent instructions and expectations for female and male beauty standards, but must by no means must we view this with a 21st century Western lense of gender divides (or pink for girls, blue for boys) as androgynously beauties (whilst often favouring male beauties albeit) were the standard of the day to strive for. 

Suijin Dress Manuals

The well dressed man, often the head of the household and breadwinner at this time would have been an avid consumer of these manuals for himself and any Shaku (嫡 |legitimate wife), Yuujo, Kagema or plaything a Suijin (粋人| Worldly Male) may fancy. It is estimated around 50% of men could read at this time.[4] Another genre of Sumizuri-e which showcased male actors in fashionable garments and can be compared to a modern magazine featuring popular actors doing modelling for example.[4] The majority of books were designed with men in mind, so I shall gloss over them a bit and refer more to womens fashions as as I mentioned before, gender, art, clothing and design over overlapped.[8]

Five Amorous Women (1686) Yoshida Hanbei

Asobi Dress Manuals

With these expectations, GKTC and beauty standards began to become more visual and visible in the proliferation of picture books. In the case of women, it is estimated only around 20% of women at this could read. This did not stop young unmarried women (or Asobi, play girls) who worked as maids, chefs, childcarers, silk, ramie and hemp weavers, dancers, actors, Night soil compost merchants, and other jobs) from looking at and buying these picture books and dress guides.[5][6][7] This was informed also by the new GKTC expectations for women in their longer swinging sleeves (today furisode), more elaborate and ornate yet rigid hairstyles and wider Obi (belts).[1] 

Yoshida's depictions of GKTC also included the etiquette and fashionable styles for hair, kimono fashion and what to wear at home for women at the time. In 1687 he contributed to Genroku KTC by publishing his book of kimono designs, Asobi dress manuals illustrations for Okada Shôhakuken's 1687 Touryuu Onna you Kagami (當流女用鑑| Modern mirror of the world of women/女用訓蒙図彙| Ladies Pictorial Encyclopedia) Volume 4 clearly illustrates the new fashion which Saikaku deemed 'extreme' which had come about by this time as a result of the new wealth which was purposefully flaunted in GKTC.[1][2][4]

Womens Kosode Designs (1687) Yoshida Hanbei

A great number of these Kimono designs show literary allusion in the combination of morning glory and carriage motifs to the Yuugao (Morning Glory) chapter in the Genji (which refers to Princess Asagao who Genji didnt get to bone this time and something about Cougars and Snow ITS LATE IM TIRED).[4] 

Korean Chrysanthemum Pattern | Carp Waterfall Pattern 

(Joyo kinmo zui; 1687) Yoshida Hanbei

As we see here, Yoshida clearly works within the boundaries of acceptable art limitations for Sumizuri-e with the small and retreating facial features and gestures into the preordained popular S-shape, which came to prominence in the Kambun era. His design book clearly illustrates the Genroku composition style of busy composition. Breaking pre-established norms though go about as far as this and instead follow a shy breakaway from tradition, seen in the number of limited motifs (2 and 3) which were deemed acceptable under sumptuary laws regarding design at the time for Chonin.

Small sections of design instead speak for the wealth by using what appears to be shibori to showcase that whoever was having the kimono made for them had the money to have someone produce Kosode with shibori decoration and intricate large threadwork which even some samurai with their loss of rice revenue could no longer afford to have made. With the ever increasing sumptuary laws which Chonin had to follow, adapting to the sumptuary laws became a key component of GKTC, so whenever a ban on certain designs were introduced, Chonin would rebel and spend more money in other ways, and production (sewing, embroidery, dying etc) was where the money would instead end up.

Yoshida was already established when he began producing Asobi and Suijin Dress Manuals and Saikaku's 'Extreme' GKTC Sumizuri-e between 1682-1692. Whilst his work did not depict Bijin, he did depict what the Bijin would wear which is what makes his illustrations depicting Kimono so useful to us today for defining some of the fashionable kimono and appropriate deportment in GKTC. Modest Peacocking if you will. Yoshidas napes and wrists for instance, unlike saucy Moronobu, are not visible but hidden, which screamed 'I-am-a-middle-class-suburban-1687-housewife'. This whilst not seemingly revolutionary, was a shift in attitude of shunning the human form in the early 17th century to an acceptance of its depiction and acceptability in print for a general audience, which came from the world of Abuna-e and Shunga over to the domestic sphere in a tempered, moderate version.

The Toned-Down Bijin

In conclusion, whilst not classified as Bijinga, Yoshida clearly had a idea about the acceptability and transmission of beauty standards to the average reader. Combine this with his successful collaborations and proliferation in multiple genres, and Yoshida singlehandedly managed to redefine the visual ethos of acceptable dress by the Genroku period. It is clear that Suijin, Asobi, Yujo, Kagema and Samurai families also had begun to mix and adapt and adopt each others dress habits and how this pushed cottage industry production of expensive Kosode whether in the amount of dye used, costly gold threads and leaf application etc onto already vivid, ostentatious and elaborately layered Kosode. These expensive garish GKTC garments caused backlash and reversion by tastemakers to more traditional Buddhists notions of propriety in dress and modest dress etiquette (or being Iki) under the sumptuary laws to the new wealthy urban masses by designers like Yoshida who encouraged modest Ji-monnyou, motif and dress styles in their Sumizuri-e Kosode in reaction against the Chonin Bijin who was characteristically flashy, flamboyant and fabulously overdressed to pop to see the latest Kabuki.

Bibliography

[1] For more on Saikakus contribution to GKTC, see Bijin #3

[2] https://en.wikipedia.org/wiki/Yoshida_Hanbei

[3] https://www.britishmuseum.org/collection/term/BIOG1412

[4] https://www.viewingjapaneseprints.net/texts/ukiyoe/yoshida_hanbei.html

[5] Fertility And Pleasure: Ritual And Sexual Values in Tokugawa Japan, William Lindsey, 2007, p.10

[6] https://en.wikipedia.org/wiki/Night_soil#Japan

[7] See Goodwin 2000 and Dalby 1983/1993 in Resource Page for more on the definition of Asobi

[8] Cartographies of Desire: Male-Male Sexuality in Japanese Discourse, 1600–1950, Gregory Pflugfelder, 2007, pp.55-73

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清海波 | Seigeiha | (Blue) Sea & Waves | Patterns #4

The Seigeiha pattern is a repeating half moon circular motif of stylised waves. It is worn frequently on Yukata, but can also be found less frequently on some Kimono and Obi more sparingly to my knowledge, and is often used a relief to break up a large empty space in a design as a Ji-monnyou (Ground-pattern).[1] It is said Seigeiha is meant to represent the calming quiet presence and peace found in a still sea scene and the resilience of water, also representing the bringing of wealth and power.[2][3] Yabureseigeiha (Broken waves) incorporates the design by omitting some waves and is popular for Obi designs. Modern designs are now used frequently used on a great varying of surfaces in applied and decorative arts such as the 2019 World Rugby uniform for Japan.[1]

Seigeiha (CC2.0 Filter Forge 2015)

The pattern has been around since the 3rd-6th century on Haniwa (埴輪|Terracotta burial figures) in Gunma prefecture.[2][6] The design itself was originally found on Chinese maps.[6] The motif is popularly associated with the costume of performers who played a part of the Seigeiha programme of Gagaku (雅楽|Traditional East Asian Court Music).[1] The ritualised performance or Bugaku (舞楽|Dancing Gagaku) calls for 2 performers, who wave around their sleeves and swords and is associated with the Momiji-no-Ga (紅葉賀|Autumn Excursion) in the 7th chapter of Murasaki's Genji. Performers wear Hanpi (半臂|Sleeveless Tops) embroiled in peony, Ho (outer robes) emblazened with plovers and the Shitagasane (下襲|Inner Robe) embroidered with the Seigeiha and mists, which here the Hanpi is the bright green, the Ho the orange and the Shitagasane the dark green.[4] I think. 

Seigeiha Bugaku

The Autumn Excursion occurs between Genji's 18th trip around and the year and 19th trip around the sun beginning and ending in autumn. Genji has knocked up the Emperors favourite, Lady Fujitsubo and keeps pestering her until eventually she ignores him. Genji instead spends his time preparing to perform the Bugaku to celebrate his lovechild's arrival and preoccupies his time dancing and admiring Fujitsubo's neice instead. During rehearsals she catches a glimpse behind her reed screen and when their eyes met for but a second, her resolution of ignoring Genji stalled and she sent him a single letter. Fujitsubo gave birth the following February but along with Genji, feels a great guilt when the Emperor remarks how wonderful it is that her son, resembles Genji. Even after this fact though, the waves of love (I know I ruined it but explaning jokes is so funny right \-w-/) continued to wash over Genji and he continued with his Fujitsubo love affair.[5]  From the Heian period onwards it decorated Mo (裳|Junihitoe shirt). This transferred into ceramics, sand gardens, temple layouts and architecture by the Kamakura period and has remained a highly popular Wagara (Japanese traditional pattern) ever since.[6] 

Bibliography

[1] http://project-japan.jp/seigaiha/

[2] https://polinacouture.com/en/the-meaning-of-patterns-on-japanese-fabrics/

[3] https://pen-online.com/design/seigaiha-the-wave-motif-inspiring-contemporary-french-fashion/#:~:text=The%20Seigaiha%20wave%20is%20an,seas%20and%20oceans%20on%20maps.

[4] https://www.japanese-wiki-corpus.org/culture/Seigaiha%20(a%20program%20of%20gagaku%20[ancient%20Japanese%20court%20dance%20and%20music]).html

[5] https://www.japanese-wiki-corpus.org/literature/Momiji%20no%20Ga.html

[6] http://www.aisf.or.jp/~jaanus/deta/s/seigaiha.htm

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