{"id":12246,"date":"2009-09-10T15:01:09","date_gmt":"2009-09-10T18:01:09","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=12246"},"modified":"2009-09-11T13:14:21","modified_gmt":"2009-09-11T16:14:21","slug":"corra-seu-risco","status":"publish","type":"post","link":"https:\/\/idanca.net\/corra-seu-risco\/","title":{"rendered":"Corra seu risco | Take your risk"},"content":{"rendered":"

O que me levou \u00e0 Veneza n\u00e3o foi propriamente o encanto de uma das mais belas (e tur\u00edsticas) cidades do mundo, ainda que a vontade de conhec\u00ea-la existisse h\u00e1 tempos. Tamb\u00e9m n\u00e3o foi exatamente a companhia dos amigos, que alegraram a minha estadia. Tampouco as f\u00e9rias escolares do ver\u00e3o europeu. Aquilo que realmente motivou minha ida at\u00e9 l\u00e1 foi a estreia<\/em> da nova obra do core\u00f3grafo William Forsythe (1949), The Fact of Matter<\/em><\/strong>, durante a 53a<\/sup> Bienale di Venezia<\/a>, que acontece do dia 7 de junho ao dia 22 de novembro de 2009. A bienal \u00e9 um empreendimento enorme e tudo respira arte pelas ruas, museus, galerias, igrejas, barcos, pessoas. A pr\u00f3pria cidade pode ser considerada um museu a c\u00e9u aberto, pois, fundada no ano de 950, carrega uma longa hist\u00f3ria que passou pela posi\u00e7\u00e3o geogr\u00e1fica vantajosa e estrat\u00e9gica entre o Oriente e Ocidente. Nesse sentido, nada mais acertado do que o nome do mercador e explorador Marco Polo para o aeroporto, n\u00e3o?<\/span><\/p>\n

Antes de comprar meus bilhetes para a exposi\u00e7\u00e3o (custam 18 euros e d\u00e3o entrada para as duas \u00e1reas por onde o evento se espalha, em Arsenale e Girardini) verifiquei algumas informa\u00e7\u00f5es no site da companhia do Forsythe, The Forsythe Company<\/a>. Se voc\u00ea fizer o mesmo que eu, vai perceber que h\u00e1 somente uma \u201cp\u00e1gina<\/a>\u201d com dados que se reduzem ao nome da obra, seu autor, o ano de estreia, a data de exibi\u00e7\u00e3o, os promotores\/realizadores e a palavra \u201ctickets\u201d que, quando clicada, te conduz ao endere\u00e7o eletr\u00f4nico da famosa bienal. Com cerca de 90 artistas, n\u00e3o seria dif\u00edcil encontrar o nome do core\u00f3grafo, caso o sistema de busca do ambiente funcionasse. O resultado d\u00e1 em nada. O jornal de divulga\u00e7\u00e3o do evento apresenta uma lista em ordem alfab\u00e9tica dos participantes, mas o de Forsythe tamb\u00e9m n\u00e3o consta. Nada nos panfletos e os monitores igualmente n\u00e3o sabiam informar.<\/span><\/p>\n

Estaria eu diante de uma investiga\u00e7\u00e3o de detetives?<\/span><\/p>\n

Como n\u00e3o havia informa\u00e7\u00e3o coerente dispon\u00edvel, cheguei a pensar que, talvez, a instala\u00e7\u00e3o tivesse sido cancelada por algum motivo e algo estivesse virtualmente desatualizado. Diante dessa confus\u00e3o, do tamanho da exposi\u00e7\u00e3o e da quantidade de obras, como eu iria, afinal, encontrar a nova obra do William Forsythe, caso ela l\u00e1 estivesse?<\/span><\/p>\n

S\u00f3 indo pessoalmente. Pois foi na terceira visita que, totalmente por acaso, encontrei The Fact of Matter<\/em><\/strong>! Logo depois de ter sido felizmente pega de surpresa pelas esculturas da americana Miranda July<\/a>, enquanto passeava \u00e0 deriva pelo jardim, em Arsenale. O lugar \u00e9 um misto de gramado, mata, pedras, p\u00e1ssaros e outros bichos cercado por uma paisagem industrial e portu\u00e1ria com arquitetura do s\u00e9culo XVI. The Fact of Matter<\/em><\/strong> est\u00e1 praticamente escondida numa parte mais reservada dessa \u00e1rea. Inclusive voc\u00ea s\u00f3 desconfia que tem alguma coisa ali ligada \u00e0 exposi\u00e7\u00e3o porque identifica, \u00e0 dist\u00e2ncia, o suporte de papel onde ficam os cr\u00e9ditos das obras, padr\u00e3o da bienal.<\/span><\/p>\n

A sala do seu mais recente objeto coreogr\u00e1fico<\/em>, como Forsythe vem chamando alguns de seus trabalhos, \u00e9 um lugar aparentemente abandonado e n\u00e3o muito grande. As duas aberturas est\u00e3o cobertas de vegeta\u00e7\u00e3o. H\u00e1 ferrugem e p\u00f3. Dentro do lugar, se voc\u00ea n\u00e3o fizer quest\u00e3o de ler os tais cr\u00e9ditos com a \u201cexplica\u00e7\u00e3o\u201d colocada na entrada, ser\u00e1 surpreendido por 200 an\u00e9is de gin\u00e1stica pendurados em diferentes comprimentos do teto at\u00e9 o ch\u00e3o. \u201c\u00c9 poss\u00edvel utilizar os an\u00e9is para atravessar o espa\u00e7o, o risco \u00e9 todo seu. Somente duas pessoas s\u00e3o permitidas por vez. Obrigado<\/em>\u201d. The Fact of Matter<\/em><\/strong> faz com que o \u201cespa\u00e7o\u201d se torne uma quest\u00e3o: ao ocup\u00e1-lo e ao propor sua ocupa\u00e7\u00e3o. Que corpos poderiam surgir com o uso desses an\u00e9is? Que espa\u00e7os? Corra seu risco. Descubra e compartilhe sua pol\u00edtica.<\/span><\/p>\n

\"The<\/a>

The fact of matter \/ Foto: Ma\u00edra Spanghero<\/p><\/div><\/span><\/p>\n

Nos \u00faltimos anos, o core\u00f3grafo William Forsythe vem pensando como dan\u00e7a e coreografia podem existir em outros contextos e m\u00eddias, como por exemplo no caso dos filmes e v\u00eddeos (Solo<\/em><\/strong>, Suspense<\/strong>, Antipodes I \/ II<\/strong><\/em>), das instala\u00e7\u00f5es City of Abstracts<\/em><\/strong>, Scattered Crowd<\/em><\/strong> e Defenders Part 2-3 \/ his film 1.2.3<\/em><\/a><\/strong>, do CD-Rom Improvisation Technologies<\/em><\/strong><\/a> e, mais recentemente, do admir\u00e1vel projeto Synchronous Objects for One Flat Thing, Reproduced<\/em><\/strong><\/a>, uma m\u00eddia dispon\u00edvel on-line<\/em> fruto do trabalho de uma equipe multidisciplinar que desenvolveu visualiza\u00e7\u00f5es gr\u00e1ficas e computacionais para a coreografia.<\/span><\/p>\n

Segundo Forsythe, conforme escreveu em seu texto Choreographic Objects<\/em><\/a>:\u00a0 \u201ccoreografia \u00e9, ao mesmo tempo, um termo curioso e enganoso. A palavra em si, como o processo que descreve, \u00e9 alusiva, \u00e1gil e furiosamente ind\u00f3cil. Reduzir coreografia em uma \u00fanica defini\u00e7\u00e3o \u00e9 n\u00e3o entender o mais crucial de seus mecanismos: o de resistir e transformar concep\u00e7\u00f5es pr\u00e9vias de sua pr\u00f3pria defini\u00e7\u00e3o. […] Coreografia\/coreografar e dan\u00e7a\/dan\u00e7ar s\u00e3o duas pr\u00e1ticas distintas e muito diferentes. No caso da coreografia e da dan\u00e7a coincidirem, a coreografia frequentemente serve como um canal para o desejo da dan\u00e7a. Algu\u00e9m poderia facilmente assumir que a subst\u00e2ncia do pensamento coreogr\u00e1fico reside exclusivamente no corpo. Mas, \u00e9 poss\u00edvel para a coreografia gerar express\u00f5es aut\u00f4nomas de seus principais, um objeto coreogr\u00e1fico, sem o corpo?<\/em>\u201d<\/span><\/p>\n

Essa foi uma das ideias discutidas durante o semin\u00e1rio p\u00fablico que ocorreu dentro da programa\u00e7\u00e3o do evento Focus on Forsythe<\/em><\/a>, promovido pelo Sadles Well\u2019s, em abril de 2009, em Londres. O pesquisador Scott de LaHunta organizou e coordenou a discuss\u00e3o cujo t\u00edtulo ajuda a pensar mais sobre o assunto, Objetos Coreogr\u00e1ficos: Tra\u00e7os e Artefatos de Intelig\u00eancia F\u00edsica<\/em><\/a>. Forsythe e seus colaboradores, entre eles Siobhan Davies, Wayne McGregor e Emio Greco, conversaram sobre o conceito de objeto coreogr\u00e1fico e como ele virou realidade no projeto digital acima mencionado, o Synchronous Objects<\/em><\/strong>. Boa parte do debate girou em torno da explora\u00e7\u00e3o das tecnologias interativas digitais para documentar, representar, transmitir e disseminar importantes aspectos dessa pr\u00e1tica art\u00edstica. As v\u00e1rias fontes informacionais constituem objetos que o projeto investiga atrav\u00e9s de perguntas como: o que os dan\u00e7arinos sabem? Como esse conhecimento pode ser capturado, transformado e acessado em outros campos de estudo al\u00e9m da dan\u00e7a? O que tem sido reconhecido como produ\u00e7\u00e3o de conhecimento nesse fazer e que tipos de objetos podem ser tomados como conhecimento para outras disciplinas?<\/span><\/p>\n

Quest\u00f5es como essas estar\u00e3o em pauta nos pr\u00f3ximos anos, desafiando profissionais de diferentes especialidades a trabalharem juntos em projetos que situem a produ\u00e7\u00e3o de conhecimento da\/em dan\u00e7a e promovam adiante a sua compreens\u00e3o\/documenta\u00e7\u00e3o\/visualiza\u00e7\u00e3o.<\/span><\/p>\n

Por fim, ainda dentro da programa\u00e7\u00e3o da Bienale di Venezia, vale conferir as instala\u00e7\u00f5es dos brasileiros Lygia Pape e Cildo Meireles, as obras do espanhol Miquel Barcel\u00f3 (inclusive o v\u00eddeo de uma de suas perfomances), a sala do chileno Iv\u00e1n Navarro, as esculturas de palha de Ahmad Askalany… Perca o dia (ou dias) l\u00e1 dentro. Os amantes das artes do corpo precisam checar tamb\u00e9m o pavilh\u00e3o do artista Jan Fabre com a exposi\u00e7\u00e3o From the Feet to the Brain<\/em><\/strong><\/a>, curada por Linda e Guy Pieters, em Arsenale Novissimo. Confirme antes, pois tem dias em que o pavilh\u00e3o est\u00e1 fechado, mas voc\u00ea s\u00f3 fica sabendo disso quando est\u00e1 na frente dele.<\/span><\/p>\n

Ma\u00edra Spanghero \u00e9 p\u00f3s-doutoranda, com suporte da CAPES, na Brunel University, em Londres, onde pesquisa a rela\u00e7\u00e3o entre dan\u00e7a e matem\u00e1tica na obra dos core\u00f3grafos William Forsythe e Anne Teresa De Keersmaeker.<\/strong><\/span> <\/strong><\/span><\/p>\n

What brought me to Veneza wasn\u00b4t exactly the allure of one of the most beautiful (and tourist attracting) cities in the world, even tough the desire to visit it had existed for a long time. Also, it was not exactly the company of friends who made my stay joyful. Neither was it the European summer vacations. That which really motivated my trip was the premiere<\/em> of the work of choreographer William Forsythe (1949), The Fact of Matter<\/em><\/strong>, which was part of the 53rd 53a<\/sup> Bienale di Venezia<\/a> running from June 7 to November 22, 2009. The biennial is a huge undertaking and everything breathes arts on the streets, museums, galleries, churches, boats, people. The city itself can be considered an outdoor museum as it was founded in the year 950, it carries a long history that went through its favorable and strategic geographic position between the West and the East. Nothing could be more appropriate than naming the airport after merchant and explorer Marco Polo, right?<\/span><\/p>\n

Before I bought the tickets for the exhibition (they cost 18 euro and give access to two areas where the event spreads out, in Arsenale and Girardini), I checked some information at the website of Forsythe\u2019s company, The Forsythe Company<\/a>. If you do the same, you\u00b4ll realize there is only one \u201c page<\/a>\u201d with information restricted to the name of the piece, its author, the year of the premiere, the dates, the promoters\/producers and the word \u201ctickets\u201d that linked to the URL of the famous biennial\u2019s website. With about 90 artists, it wouldn\u00b4t be hard to find the name of the choreographer if the search engine of the website worked. The result is nothing. The event\u2019s publication brings a list of participants in alphabetic order but Forsythe\u2019s name is not there. Nothing on the leaflets and the ushers also couldn\u00b4t inform anything.<\/span><\/p>\n

Was I facing a detective investigation?<\/span><\/p>\n

Since there was no information available, I started to think that maybe the installation had been cancelled for some reason and something was virtually outdated. With all this confusion, the size of the exhibition and the amount of works, how was I to find William Forsythe\u2019s new piece, in case it was actually there?<\/span><\/p>\n

I had no alternative but to go there personally. So it was on my third visit, totally by chance, that I found the The Fact of Matter<\/em><\/strong>! Soon after being fortunately taken by surprise by the sculptures of American artist Miranda July<\/a>, while I was strolling through the garden, in Arsenale. The place is a mix of lawn, woods, stones, birds and other animals surrounded by an industrial and port landscape with 16th century architecture. The Fact of Matter<\/em><\/strong> is virtually hidden in a more reserved part of this area. You only suspect there\u00b4s something related to the exhibition because you can see from afar the paper display with the credits of the pieces, in the Bienale pattern.<\/span><\/p>\n

The room of his most recent choreographic object<\/em>, as Forsythe has been calling some of his works, is an apparently abandoned place and not very big. The two openings are covered with vegetation There\u00b4s rust and dust. If you don\u00b4t care to read the credits with the \u201cexplanation\u201d placed at the entry, inside the place you\u00b4ll be surprised by 200 gymnastics rings hanging at different lengths, from the ceiling to the floor. \u201cIt\u00b4s possible to use the rings to cross the space, the risk is all yours. Only two people are allowed at a time. Thank you<\/em>\u201d. The Fact of Matter<\/em><\/strong> turns the \u201cspace\u201d into an issue: by occupying it and proposing its occupation. Which bodies could emerge from the use of the rings? Which spaces? Take the risk. Find out and share your policy.<\/span><\/p>\n

\"The<\/a>

The fact of matter \/ Foto: Ma\u00edra Spanghero<\/p><\/div><\/span><\/p>\n

In the last years, choreographer William Forsythe was been thinking about how dance and choreography can exist in other contexts and media, like, for example, in the case of films and videos (Solo<\/em><\/strong>, Suspense<\/strong>, Antipodes I \/ II<\/strong><\/em>), the installations City of Abstracts<\/em><\/strong>, Scattered Crowd<\/em><\/strong> and Defenders Part 2-3 \/ his film 1.2.3<\/em><\/a><\/strong>, the CD-Rom Improvisation Technologies<\/em><\/strong><\/a> and most recently the striking project Synchronous Objects for One Flat Thing, Reproduced<\/em><\/strong><\/a>, a media available online, the result of the work of a multidisciplinary team that developed graphic and computer visualization for the choreography.<\/span><\/p>\n

According to Forsythe, as he wrote in his text Choreographic Objects<\/em><\/a>: \u201cChoreography is a curious and deceptive term. The word itself, like the processes it describes, is elusive, agile, and maddeningly unmanageable. To reduce choreography to a single definition is not to understand the most crucial of its mechanisms: to resist and reform previous conceptions of its definition.[\u2026] Choreography and dancing are two distinct and very different practices. In the case that choreography and dance coincide, choreography often serves as a channel for the desire to dance. One could easily assume that the substance of choreographic thought resided exclusively in the body. But is it possible for choreography to generate autonomous expressions of its principles, a choreographic object, without the body?”<\/em><\/span><\/p>\n

This was one of the ideas discussed during the public seminar that took place within the program of the Focus on Forsythe<\/em><\/a> event, in April 2009, in London. Researcher Scott de LaHunta organized and coordinated the debate whose title helps to think more about the subject, Choreographic Objects: traces and artifacts of physical intelligence <\/em><\/a>. Forsythe and his collaborators \u2013 Siobhan Davies, Wayne McGregor and Emio Greco \u2013 talked about the concept of choreographic object and how it became reality in the digital project mentioned above, Synchronous Objects<\/em><\/strong>. Most of the debate revolved around the exploration of digital interactive technologies to document, represent, convey and spread important aspects of this artistic practice. The many informational sources make up objects the project investigates through questions like: what do the dancers know? How can this knowledge be captured, transformed and accessed in other fields of study other than dance? What has been recognized as knowledge production in this practice and what types of objects can be taken as knowledge to other disciplines? <\/span><\/p>\n

Issues like that will be in the agenda over the next years, defying professionals from different specialties to work together in projects that locate the knowledge production of\/in dance and further promote its understanding\/documentation\/visualization. <\/span><\/p>\n

Finally, still within the Bienale de Venezia program, it\u00b4s worth checking out the installations of Brazilian artists Lygia Pape and Cildo Meireles, the work of Spanish artist Miquel Barcel\u00f3 (including the video of one of his performances), the room of Chilean Iv\u00e1n Navarro, the straw sculptures of Ahmad Askalany… spend the day (or days) in there. The lovers of the arts of the body must also check out the Jan Fabre\u2019s pavilion with the exhibition From the Feet to the Brain<\/em><\/strong><\/a>, curated by Linda and Guy Pieters, in Arsenale Novissimo. Confirm first, because some days the pavilion is closed but you only find out when standing in front of it. <\/span><\/p>\n

Ma\u00edra Spanghero is post-doctorate candidate at Brunel University, in London, where she is researching the relationship between dance and mathematics in the work of choroegraphers William Forsythe and Anne Teresa De Keersmaeker.<\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Em visita \u00e0 Bienal de Veneza, a colunista Ma\u00edra Spanghero conta o que achou do novo ‘objeto coreogr\u00e1fico’ de William Forsythe. E tamb\u00e9m de outras obras expostas por l\u00e1. Confira! <\/span>
\nIn her visit to the Bienale de Venezia, our collaborator Ma\u00edra Spanghero writes about William Forsythe\u2019s \u2018choreographic object\u2019. And also about other works exhibited there. 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E tamb\u00e9m de outras obras expostas por l\u00e1. Confira! In her visit to the Bienale de Venezia, our collaborator Ma\u00edra Spanghero writes about William Forsythe\u2019s \u2018choreographic object\u2019. And also about other works exhibited there. 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PHD in Communication and Semiotics, teacher of PUC\/SP and author of the book \\\"The dance of lighted encephals\\\" (Ita\u00fa Cultural, 2003).\",\"sameAs\":[\"http:\/\/\"],\"url\":\"https:\/\/idanca.net\/author\/mairaspanghero\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Corra seu risco | Take your risk -","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/idanca.net\/corra-seu-risco\/","og_locale":"pt_BR","og_type":"article","og_title":"Corra seu risco | Take your risk -","og_description":"Em visita \u00e0 Bienal de Veneza, a colunista Ma\u00edra Spanghero conta o que achou do novo 'objeto coreogr\u00e1fico' de William Forsythe. E tamb\u00e9m de outras obras expostas por l\u00e1. Confira! In her visit to the Bienale de Venezia, our collaborator Ma\u00edra Spanghero writes about William Forsythe\u2019s \u2018choreographic object\u2019. And also about other works exhibited there. Check it out!","og_url":"https:\/\/idanca.net\/corra-seu-risco\/","article_publisher":"http:\/\/www.facebook.com\/idanca.net","article_published_time":"2009-09-10T18:01:09+00:00","article_modified_time":"2009-09-11T16:14:21+00:00","og_image":[{"width":310,"height":232,"url":"https:\/\/idanca.net\/wp-content\/uploads\/2009\/09\/mairaspanghero_the-fact-of-matter01.jpg","type":"image\/jpeg"}],"author":"Ma\u00edra Spanghero","twitter_misc":{"Escrito por":"Ma\u00edra Spanghero","Est. tempo de leitura":"13 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/idanca.net\/corra-seu-risco\/","url":"https:\/\/idanca.net\/corra-seu-risco\/","name":"Corra seu risco | Take your risk -","isPartOf":{"@id":"https:\/\/idanca.net\/#website"},"datePublished":"2009-09-10T18:01:09+00:00","dateModified":"2009-09-11T16:14:21+00:00","author":{"@id":"https:\/\/idanca.net\/#\/schema\/person\/073a9a3b2e6b07ef697d05f661417a72"},"breadcrumb":{"@id":"https:\/\/idanca.net\/corra-seu-risco\/#breadcrumb"},"inLanguage":"pt-BR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/idanca.net\/corra-seu-risco\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/idanca.net\/corra-seu-risco\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/idanca.net\/"},{"@type":"ListItem","position":2,"name":"Corra seu risco | Take your risk"}]},{"@type":"WebSite","@id":"https:\/\/idanca.net\/#website","url":"https:\/\/idanca.net\/","name":"","description":"portal de not\u00edcias sobre dan\u00e7a brasileira e internacional","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/idanca.net\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"pt-BR"},{"@type":"Person","@id":"https:\/\/idanca.net\/#\/schema\/person\/073a9a3b2e6b07ef697d05f661417a72","name":"Ma\u00edra Spanghero","image":{"@type":"ImageObject","inLanguage":"pt-BR","@id":"https:\/\/idanca.net\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/b3c4365f1dda7c2f9e21e8788c5e894c?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/b3c4365f1dda7c2f9e21e8788c5e894c?s=96&d=mm&r=g","caption":"Ma\u00edra Spanghero"},"description":"\u00e9 escritora e pesquisadora. Doutora em Comunica\u00e7\u00e3o e Semi\u00f3tica, professora da PUC\/SP e authora do livro \"A dan\u00e7a dos enc\u00e9falos acesos\" (Ita\u00fa Cultural, 2003) :::: Ma\u00edra Spanghero is writer and researcher. PHD in Communication and Semiotics, teacher of PUC\/SP and author of the book \"The dance of lighted encephals\" (Ita\u00fa Cultural, 2003).","sameAs":["http:\/\/"],"url":"https:\/\/idanca.net\/author\/mairaspanghero\/"}]}},"_links":{"self":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/12246"}],"collection":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/users\/62"}],"replies":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/comments?post=12246"}],"version-history":[{"count":0,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/12246\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media\/12247"}],"wp:attachment":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media?parent=12246"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/categories?post=12246"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/tags?post=12246"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}