{"id":2023,"date":"2020-04-20T12:57:32","date_gmt":"2020-04-20T11:57:32","guid":{"rendered":"https:\/\/www.artsjournal.com\/performancemonkey\/?p=2023"},"modified":"2020-04-20T13:00:49","modified_gmt":"2020-04-20T12:00:49","slug":"everything-pina","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/performancemonkey\/2020\/04\/everything-pina.html","title":{"rendered":"Everything Pina"},"content":{"rendered":"\n
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I was always going to schedule Wim Wenders\u2019 Pina<\/a> <\/em>for Lockdown Theatre Club. Pina Bausch\u2019s work has been a delight and compulsion throughout my theatregoing lifetime. I\u2019ve seen every piece I can, several of them more than once. When her Tanztheater Wuppertal brought 10 productions to London during the Olympic year, I saw them all. I\u2019ve snatched at review, interview and programme-note opportunities. I\u2019m a Pinaholic and a Bauschhead, and proud of it.<\/p>\n\n\n\n

And it turns out I\u2019ve written quite a bit about her work, so have collected some of it here \u2013 especially around productions that appear in Pina<\/em>. First is a feature I wrote when the film was released, speaking to Wenders and some of the dancers.<\/p>\n\n\n\n

Dancing into a new dimension: Wim Wenders on Pina<\/em><\/strong><\/p>\n\n\n\n

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The\nTanztheater Wuppertal was performing in Poland in June 2009 when they heard\nthat their director and choreographer Pina Bausch had died, unexpectedly, from\ncancer at the age of 68. They were devastated. Some had worked with Bausch for\nyears as her troupe from an unregarded German town had become a transforming\nforce in modern dance. \u201cIt was a huge shock,\u201d says the limber American dancer Eddie\nMartinez. \u201cWe all expected Pina to live forever.\u201d<\/p>\n\n\n\n

The\naftermath of the death was terrible. This quiet woman had, through sheer force\nof will, created a vast body of work that scraped the nerve endings off modern\nlife. Now it was in danger of collapse. \u201cWe were in a giant hole,\u201d the\nAustralian dancer Julie Shanahan tells me. What saved them was collaborating on\nan extraordinary film by Bausch\u2019s fellow German, the director Wim Wenders. Pina<\/em>\ncaptures Bausch\u2019s audacious, wrangling work and celebrates her unique artistry.\nIt preserves the dance, but also makes it anew. It may also be the first\nartistic masterpiece of 3D cinema.<\/p>\n\n\n\n

Several\ndancers insist that Wenders\u2019 film, far from intruding on their grief, was an\nessential part of the mourning process. \u201cIt was almost a rescue,\u201d Barbara Kaufmann\ntells me. \u201cWim gave us the opportunity to pay homage to Pina.\u201d The incisive Spanish\ndancer Nazareth Panadero agrees: \u201cWe were very sad, and not sure what was going\nto happen. But we felt so close to Wim and the team that we were not alone any\nmore.\u201d<\/p>\n\n\n\n

Wenders\nhad met the choreographer when her company performed two of their masterworks, Caf\u00e9\nM\u00fcller <\/em>and The Rite of Spring<\/em>, in Venice in 1982. They felt an\naffinity, he confirms, in part because they were both children of disconsolate,\nrecovering postwar Germany. Panadero also believes Wenders shares qualities\nwith Pina \u2013 an observant eye, a reticent sensitivity.<\/p>\n\n\n\n

Sitting\nover a cooling cup of tea in a London hotel, Wenders ruefully admits that he and\nBausch had discussed making a film throughout most of their friendship. He\nsimply couldn\u2019t see how to capture her comedy, anguish and visceral extremity.\nUnlike twinkle-toed ballet, Bausch\u2019s dancers register the full weight of human\nphysicality. \u201cI would have dropped everything immediately, but I always had to\nadmit to her that I didn\u2019t know how to do it. It was almost like a running gag,\nbecause she wouldn\u2019t give up and thought that I would eventually come up with\nthe solution.\u201d And, eventually, he did, when he saw 3D film for the first time\nin 2007.<\/p>\n\n\n\n

\u201cI\ncalled her immediately,\u201d he recalls. He and Bausch began to plan the film and select\nthe works to be included. \u201cI basically was convinced that 3D and dance were\nmade for each other,\u201d he says. \u201cI wasn\u2019t disappointed \u2013 it took a while to get\nthere but the hunch was the right one.\u201d<\/p>\n\n\n\n

In\nother hands, 3D has produced a bombastic display of invention and\nself-regarding dazzle. Wenders uses the technique with stealth \u2013 instead of\ncreated hyper-real textures, he relishes the soft layerings of bodies, letting\nthem appear and vanish, draw close or fade away. It\u2019s utterly beguiling,\nwhether we watch a cowed tribe of women endure the Rite of Spring<\/em>, or\nsee couples in stiff evening wear perform awkward social dances in Kontakthof<\/em>.\nYou are half observer, half participant \u2013 which is precisely the feeling that\nBausch\u2019s work often produces. Everyone is implicated in this exhilarating work.<\/p>\n\n\n\n

Although\nthe dancers suggest in voiceover something of what Bausch meant to them, there\nare no discussions of the work in the film; everyone is adamant that would have\nbetrayed their maker, who squirmed when asked to explain her creations. The\nmere idea makes her longstanding dancer Dominique Mercy laugh: \u201cWith Pina it\nwas no help to ask her! She liked to be surprised, she liked misunderstandings\nwhen what emerged was incredibly beautiful. I never felt the need to ask\nthings.\u201d<\/p>\n\n\n\n

Wenders\nconfirms that Bausch rejected any biographical context. \u201cThat was the rule of\nthe game from the beginning; she kept her private life very secret, and rightfully\nso. Pina herself was not good at words \u2013 she was a very funny person in private,\nbut actually never really managed to say much about her art. That\u2019s why it\nbecame a film that doesn\u2019t rely on language.\u201d<\/p>\n\n\n\n

Bausch\u2019s\ngrave presence nonetheless threads through the film, caught in luminous stills\nand heart-catching scraps of film. So what was she really like? \u201cPina was one\nof the quietest people you could ever imagine,\u201d Shanahan says. \u201cIf you didn\u2019t\ncome close to her, you didn\u2019t hear her. That intimacy \u2013 that we all learn\ntogether as humans \u2013 is exactly what her work was about.\u201d So where did this\nscalding body of work come from? To Julie Ann Stanzak, an American who danced\nwith Bausch for 23 years, her self-effacement masked a ferocious will: \u201cthis\nmodest, frail, tender person had a strength that could move a mountain. She\ncould turn water to fire.\u201d Even more simply, Kaufmann believes that \u201cshe had\nquestions inside her and they needed to be answered.\u201d<\/p>\n\n\n\n

That\nneed burns brightly in her early masterpiece Caf\u00e9 M\u00fcller<\/em> (1978), the\nfirst Bausch work that Wenders saw. Its impact was decisive. \u201cI couldn\u2019t\nbelieve that somebody in 40 minutes was able to tell you more about men and\nwomen than the entire history of cinema. It still blows my mind.\u201d Bausch\nherself appeared as a somnambulist, drifting through a series of grotesque,\nwrenching encounters. The fractious discord between the sexes \u2013 soothed by pure\ntenderness \u2013 is, Wenders believes, \u201cthe centre of her work. She created a true\nanthology of behaviour about the rejection and attraction between men and\nwomen. There\u2019s almost nothing left to say.\u201d<\/p>\n\n\n\n

Filming\nthese pieces only increased Wenders\u2019 respect for their artistry. Caf\u00e9 M\u00fcller<\/em>,\nfor example, was made it a fortnight and its teasing, blundering sequences can\nfeel semi-improvised. Wenders found it to be \u201cincredibly complex and perfect.\nYou see purpose and structure in every second.\u201d Tensions between the original\nsix performers (including Mercy) informed the work \u2013 as Wenders argues, \u201cPina could\nlook into their very souls. Because it is utterly personal, it is also\nuniversal.\u201d<\/p>\n\n\n\n

Everyone\nremembers their first encounter with this mighty body of work. Mercy himself felt\n\u201can immediate connection\u201d when he took class with Pina and instantly quit the\nFrench company he was dancing with: \u201cI packed and left.\u201d For others, the call\nwas almost accidental \u2013 Martinez was seeking stardom in New York (\u201cthat wasn\u2019t\nworking out so great\u201d) when he auditioned. \u201cI didn\u2019t know who she was,\nactually,\u201d he admits, and he was unprepared for what he encountered. \u201cI didn\u2019t\nspeak German \u2013 I was in shock for the first three years!\u201d<\/p>\n\n\n\n

Like\nother dancers who arrived from cosmopolitan cities, Martinez initially found Wuppertal\nan incongruous location for a cultural crusade. As he explains, it\u2019s an\nunremarkable small city in Germany\u2019s industrial belt: \u201cIt\u2019s very small, it\nrains a lot, it\u2019s sometimes too dark.\u201d Wenders films the dancers performing\nquirky solos in and around the city, taking Bausch\u2019s riffs onto the streets\nwhere they were born. Panadero, who planned to stay for a single year admits,\n\u201cWuppertal was not so nice for me. But now I like it very much. It is a quiet\nplace, where one can concentrate. It is a city for work.\u201d She has lived there\nsince 1979, and for Bausch, who shrugged off distractions, it was the perfect\nbase. Kaufmann quotes her as saying: \u201cWe have nothing to do but work. Let\u2019s go\non.\u201d<\/p>\n\n\n\n

If\nBausch appreciated Wuppertal, it took time for the city to return the\ncompliment. Her work seemed confounding in the early 1970s. Mercy remembers an\nearly triple bill in which he played an eerie invalid in Fritz, a piece about a\nlittle boy\u2019s nightmare. \u201cThis was not what the audience was used to \u2013 people\nwould leave during the performance, slamming the door. Pina got naughty\nletters, funny phone calls. It was a difficult time.\u201d Even today, reactions can\nbe extreme \u2013 Martinez reports spectators stalking out of the disturbing piece Nelken<\/em>\nat Salzburg, while a friend watching the company in Edinburgh last summer was\nharangued by an old woman who denounced them as \u201cdecadent.\u201d<\/p>\n\n\n\n

The\nterm seems out of kilter with Bausch\u2019s quietly dedicated working method. \u201cShe\ndidn\u2019t let many people into the rehearsal room,\u201d Stanzak explains. \u201cShe\ntreasured that atmosphere of privacy and intimacy.\u201d Within that cocoon, dancers\ncould explore their most vulnerable and outlandish traits. \u201cShe burrowed into\nthe disquiet between human beings,\u201d Stanzak considers. \u201cIt\u2019s one woman\u2019s great\nyearning to understand human need.\u201d<\/p>\n\n\n\n

Most\ndance companies are a nest of lithe but unlined youth. Bausch, however,\ncollected dancers who aged with her. The performers range from twenty to sixty,\na unique blend of experience informing the work. \u201cYou can grow up and grow old\nand still consider yourself a dancer,\u201d Shanahan says. \u201cYou bring your life\nstory on stage \u2013 which is, for me, what most dance lacks.\u201d One of the youngest current\ndancers, Thusnelda Mercy, truly grew up with Bausch. The daughter of two\ndancers (Dominique Mercy and Malou Airaudo), she was the first child to be born\nin the company, and Bausch even suggested her singular name. <\/p>\n\n\n\n

The\nbest of Bausch\u2019s pieces emerge like a dream \u2013 or nightmare \u2013 you\u2019d never known\nyou\u2019d had. Her images are both surreal and steeped in observable reality,\ndrawing on all her dancers had experienced. Stanzak describes a moment that\nfound its way into Viktor, which was based on a residency in Rome. \u201cI saw a\nwoman squeezing spinach, but looking like she wanted to wring her husband\u2019s\nneck. I brought that into it \u2013 I was so moved by this woman at the back of a\nrestaurant at the end of the day.\u201d<\/p>\n\n\n\n

The\nfilm Wenders and Bausch had discussed was very different to the finished work.\nIt was, he explains, \u201ca film on her gaze, about her look at the world.\u201d As well\nas four key works (Caf\u00e9 M\u00fcller<\/em>, Rite of Spring<\/em>, Kontakthof<\/em>\nand the watery fantasia of Follmond<\/em>), he planned to shoot her in\nrehearsal, as well as following her to South America and to Asia. He would also\nhave shown her at home in Wuppertal \u2013 \u201ca lot of Pina\u2019s work from the beginning\nwas based on observing people, and I would have shown the city in her eyes.\u201d<\/p>\n\n\n\n

Bausch\ndied just days before they were due to shoot some test scenes with the company.\n\u201cThat was the end of the film as I had planned it,\u201d Wenders has said. \u201cWe\npulled the plug.\u201d It was the dancers who persuaded him not to abandon the\nproject, insisting that he owed it to Bausch. He shot the four key dance works\nin their entirety, but felt that \u201cthat was just the bare bones of a movie. The\ncentre of gravity was missing.\u201d <\/p>\n\n\n\n

Instead,\nhe folds extended extracts from the works with quirky solos devised by the\ndancers themselves in and around Wuppertal. They are heartfelt, quirky\nsequences often drawn from her work: a hippo lumbers through the river; a\nwoman\u2019s pointe shoes are larded with slabs of meat. They remind you that Bausch\nbuilt an ensemble of individuals who offered her their own imagination and flaws\nas raw material. How did Wenders devise these scenes? \u201cIt slowly dawned on me\nthat Pina had given us her working method \u2013 asking countless questions to the dancers,\ndigging deeper and deeper. So I started to ask the dancers about Pina, and where\neach felt she saw the best of them, where she recognised them the clearest.\nThese responses became the second part of the film \u2013 so it is still a film about\nher gaze and how the dancers felt she had seen them.\u201d<\/p>\n\n\n\n

Bausch\nhad made no plans to relinquish control, so there was understandable uncertainty\nafter her death. Many dancers considered departure and the company might have\ndissolved, but instead, as Kaufmann says, \u201cNothing fell apart \u2013 everybody came\na little closer.\u201d Why?<\/p>\n\n\n\n

Martinez,\nwho seriously considered returning to his native America, insists, \u201cI am here\nbecause of Pina. She lives in the work, even though she\u2019s not physically here.\nAnd I still hear her say, \u2018Eddie \u2013 feet together.\u2019\u201d Panadero too sees performing\nas a way of refuting a harsh fact \u2013 \u201cIt\u2019s one way to make it not seem\nfinished.\u201d<\/p>\n\n\n\n

Wenders believes that for Bausch the task of maintaining her repertory of over 40 works was a Sisyphean burden \u2013 it is one reason she was keen to find a solution to filming them. Now the artists shoulder the responsibility. Shanahan believes that \u201cthe company has come of age. I sometimes think I was in a convent or temple for 23 years \u2013 now we go out and give the message.\u201d Their remorseless touring schedule will reach an exhausting peak next summer, when they perform ten works in six weeks in London as a pre-Olympic festival. \u201cOur first wish is to keep alive this repertoire, which is a jewel,\u201d Mercy insists. \u201cAt some point we have to go back to a creative process, but it\u2019s so difficult. You don\u2019t replace Pina.\u201d However gruelling, the dancers press on. \u201cOn stage there\u2019s this magic,\u201d Shanahan believes. \u201cOur bodies hurt, and our souls hurt, and we don\u2019t know what our future is. As long as we\u2019re doing the works, they survive.\u201d<\/p>\n\n\n\n

This is an expanded version of a piece published in the Sunday Times<\/a> in 2011.<\/p>\n\n\n\n

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Viktor<\/em><\/figcaption><\/figure>\n\n\n\n

Here are a few extracts from other Bauschiana.<\/p>\n\n\n\n

\u2018It belonged\nto us\u2019: a tribute to Bausch (Sunday Times 2009)<\/strong><\/p>\n\n\n\n

Indifference\nwasn\u2019t possible to Pina Bausch\u2019s work \u2013 her work inspired either impassioned\ndevotion or revulsion. Bausch, who died this week aged 68, was a choreographer,\nbut much more than that suggests. She didn\u2019t extend the dance repertoire so\nmuch as mine ways of being human. Staged on a vaunting scale, her productions\nalways felt personal \u2013 it felt like it belonged to us. I remember sitting with\nthe actor Fiona Shaw on a staircase at the London Coliseum as people edged\naround us, while a rapt Shaw described how Bausch infused the smallest moments\nwith meaning, repeating them until they were transmuted into poetry.<\/p>\n\n\n\n

Bausch\ngrew up in the Ruhr Valley, and the industrial town of Wuppertal became her\nhome when she founded her company there in 1973. Generations of dance pilgrims\nmarvelled that such sophisticated work emerged from this uncosmopolitan, even\ndowdy, place. Just as Fassbinder did in film, she made smalltown Germany the\ncentre of her vision: its tight smile and needling compromises, its barely\nrepressed nightmares.<\/p>\n\n\n\n

Bausch devotees craved that scalpel in the psyche. However punishing,\nBausch\u2019s pieces were always, urgently, about life. Even when her dancers are\nmerely walking, as Shaw told me, \u201cthey don\u2019t just<\/em> walk \u2013 they walk on behalf of humanity.\u201d<\/p>\n\n\n\n

How Bausch worked: from a programme note to Viktor<\/em>\n(Sadler\u2019s Wells 2018)<\/strong><\/p>\n\n\n\n

Seeing Viktor<\/em> changed my life. Too much? Maybe,\nbut I\u2019m convinced of it. It was the first Bausch piece I\u2019d seen \u2013 the company\nhadn\u2019t visited London for several years until the redeveloped Sadler\u2019s Wells\nstage was able to accommodate them. A grim night at the sullen end of winter,\nand I was full of a horrible cold. Three hours plus of tanztheater seemed a\ndubious prospect.<\/p>\n\n\n\n

I still remember hurtling down the tube escalator\nafterwards. I couldn\u2019t have felt more alive. Viktor<\/em> may be much\npossessed by death, but is often wildly, confoundingly comic. A couple of\ncorpses are married at the beginning of the piece, while a resplendently bored\ntrio of waitresses hobble around their trattoria. In a scene that speaks a\nsurreal truth about ballet, a dancer shoves slices of raw veal into her pointe\nshoes before teetering off to Tchaikovsky. Bausch and her colleagues recognised\nthat in death there is life \u2013 squabbling, desiring, greedy, grieving life, and\nthis hypnotic work runs at it with arms outstretched.<\/p>\n\n\n\n

[Viktor <\/em>was made in Rome.] From the late 1970s,\nBausch began the creation of each new work in the same way. She gave the\ndancers questions or prompts, reading them out in little batches, and building\nto 100 or more over the course of rehearsal. The dancers would respond in\nvarious ways, offering material (some of it very personal) from which the piece\nwould grow. For Viktor<\/em>, some of the\nprompts related directly to their Italian visit: What are you looking forward\nto in Rome? The Romans are working. The Trevi fountain. Something small you saw\nin Rome today. La dolce vita. Other prompts were less specific to the city:\nVeal. Vineyards. Somewhere with your breath.<\/p>\n\n\n\n

Raimund Hoghe, then the company\u2019s dramaturge, described\nhow the process worked in his rehearsal notes for an earlier piece, Bandoneon <\/em>(1981). \u2018I can feel what I\u2019m\nlooking for,\u2019 Bausch declared, \u2018but often I\u2019m unable to say rationally just\nwhat it is.\u2019 Instead she urged her dancers to \u2018just try it,\u2019 assuring them that\nthere was \u2018no need to think in a straight line.\u2019 The records of Viktor<\/em> show that the artists indeed took\nsome alluring tangents (\u2018Flirt like a squirrel\u2019) but \u2026 Bausch wasn\u2019t merely\nworking with her dancers\u2019 eyes but with their imaginations. \u2018I think it\u2019s great\nthat there is a part of you in every piece, a part of your lives,\u2019 she said.<\/p>\n\n\n\n

The squirm in your guts: review of Caf\u00e9 M\u00fcller<\/em>\nand The Rite of Spring <\/em>(Dancing Times)<\/strong><\/p>\n\n\n\n

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Caf\u00e9<\/em> M\u00fcller<\/em><\/figcaption><\/figure>\n\n\n\n

Caf\u00e9<\/em> M\u00fcller<\/em>\n(1978) inhabits a melancholy dream. Its characters seem to be summoned by a\nsleepwalker in a nightdress (originally created by Bausch herself). As she\nrevolves through the doors, slumps against the wall, everything happens under\nher sightless gaze\u2026 Bausch resists autobiographical parallels, but it seems\nlikely that Caf\u00e9<\/em> M\u00fcller <\/em>taps into her own childhood, growing up in her parents\u2019\nrestaurant. Performed by dancers well into middle age, it is particularly\npoignant, haunted by the sense of a recurring dream, of images that stick\nunbidden. <\/p>\n\n\n\n

If M\u00fcller<\/em> bubbles from an individual\u2019s\nmemory, The Rite of Spring<\/em> (1975) is\na nerve-pummelling masterpiece of collective dread. Bausch\u2019s piece is deeply\nrooted in twentieth-century trauma. On the peat floor every step sinks into the\nground, or raises a spume of soil which gradually speckles the extraordinary\ndancers; they end up sweaty and stained. Amid the group dances \u2013 vast stamping\ncircles, gender-segregated ceremonials \u2013 images like a huddle of women in\ndun-coloured slips inescapably summon the darkest moments of the last century,\nthe camps and chambers. It\u2019s visceral: the squirm in your guts, the nameless\nterror, the compulsive need to watch.<\/p>\n\n\n\n

PLUS<\/strong>
Review of 1980<\/em><\/a> (a revival which, incredibly, featured some of the original cast, still performing it over 30 years later)
Review of Auf dem Gebirge<\/em><\/a>\u2026<\/em> (which looks at how history haunts Bausch\u2019s work)
What did it take to work with Pina?<\/a> I spoke to the dancer Fernando Suels Mendoza (Guardian 2016)<\/p>\n","protected":false},"excerpt":{"rendered":"

I was always going to schedule Wim Wenders\u2019 Pina for Lockdown Theatre Club. Pina Bausch\u2019s work has been a delight and compulsion throughout my theatregoing lifetime. I\u2019ve seen every piece I can, several of them more than once. When her Tanztheater Wuppertal brought 10 productions to London during the Olympic year, I saw them all. […]<\/p>\n","protected":false},"author":3,"featured_media":2024,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[777,780,786,778,29,787,785,783,757,781,788,784,753,782,771,42,779,789,776,772],"class_list":{"0":"post-2023","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-uncategorized","8":"tag-777","9":"tag-auf-dem-gebirge","10":"tag-barbara-kaufmann","11":"tag-cafe-muller","12":"tag-dance","13":"tag-dominique-mercy","14":"tag-eddie-martinez","15":"tag-fernando-suels-mendoza","16":"tag-film","17":"tag-fiona-shaw","18":"tag-julie-ann-stanzak","19":"tag-julie-shanahan","20":"tag-lockdown-theatre-club","21":"tag-nazareth-panadero","22":"tag-pina","23":"tag-pina-bausch","24":"tag-rite-of-spring","25":"tag-tanztheater-wuppertal","26":"tag-viktor","27":"tag-wim-wenders","28":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/performancemonkey\/wp-json\/wp\/v2\/posts\/2023","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/performancemonkey\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/performancemonkey\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/performancemonkey\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/performancemonkey\/wp-json\/wp\/v2\/comments?post=2023"}],"version-history":[{"count":2,"href":"https:\/\/www.artsjournal.com\/performancemonkey\/wp-json\/wp\/v2\/posts\/2023\/revisions"}],"predecessor-version":[{"id":2029,"href":"https:\/\/www.artsjournal.com\/performancemonkey\/wp-json\/wp\/v2\/posts\/2023\/revisions\/2029"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/performancemonkey\/wp-json\/wp\/v2\/media\/2024"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/performancemonkey\/wp-json\/wp\/v2\/media?parent=2023"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/performancemonkey\/wp-json\/wp\/v2\/categories?post=2023"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/performancemonkey\/wp-json\/wp\/v2\/tags?post=2023"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}