{"id":27564,"date":"2006-07-27T02:43:00","date_gmt":"2006-07-27T02:43:00","guid":{"rendered":"https:\/\/myartmemoryproject.com\/?p=27564"},"modified":"2024-07-04T13:56:33","modified_gmt":"2024-07-04T05:56:33","slug":"congratulations-dato-krishen-jit","status":"publish","type":"post","link":"https:\/\/myartmemoryproject.com\/ms\/artikel\/2006\/07\/congratulations-dato-krishen-jit\/","title":{"rendered":"Congratulations, Dato’ Krishen Jit!"},"content":{"rendered":"\n\n

So the Yang di Pertuan Besar of\nNegeri Sembilan, on the occasion of his 84th<\/sup> birthday, handed out\n1441 royal gifts in the forms of titles and certificates to outstanding\nMalaysians, as is his wont (last year, he gave one to Datuk Faridah Merican,\nmuch to our collective delight). Not that a mere title should ever make a\ndifference to the place a great artist has in our hearts, but the conferment of\nDato’ upon Krishen Jit does seem that Malaysia has finally recognised one of\nher truly truly outstanding sons. It also feels like this acknowledgement is\nnot just for him, but for all the artists he had bridged across the\ndisciplines, inspiring us to play, to experiment, to come to art like a virgin,\nevery single time, and most importantly, to come together. Krishen never needed\na title, and in truth, he is bigger than all the titles we can summon. But all\nthe same, it was nice. Thanks to the Yang DiPertuan Besar Negeri Sembilan for\nshowing that artists matter to this country.<\/p>\n\n\n\n

Dato’ Krishen Jit — will he prefer\nDatuk K? — left us 28 April last year. On the same day this year, artists who\nhave worked with the Dato’ gathered at Sek San’s Gallery for Utih… Celebrating Krishen<\/em> [Utih was\nKrishen’s pen name]. Presently keeping his legacy alive is the company he\nco-founded, Five Arts Centre, which this year has already presented two\nprojects as part of the Krishen Jit Experimental Workshop Series. The first,\nheld in January, was Mark Teh’s Baling (Membaling)<\/em>,\na play about Chin Peng’s truce with Tunku Abdul Rahman, staged at futsal\nstations and colleges. The second was Marion D’Cruz’s Choreography for Non-Choreographers<\/em>, which took place in the rain,\nnear the toilets, at Central Market in June.<\/p>\n\n\n\n

The three more upcoming projects: In 1969<\/em>: directed by Chee Sek Thim, based on a short story by Beth Yap, with original songs by Shanon Shah (The title says it all, and like the Datukship of Krishen, is a subject long overdue in our arts and public forums). Adjudicating Sita: devised by Fred Lim with Anne James, who performs it. Wayang Kulit: by Fahmi Fadzil with collaborators.<\/p>\n\n\n\n

Below we gather a few of the\nindividuals who are involved in Five Arts Centre or KJEWS to talk about\nKrishen’s legacy to us.<\/p>\n\n\n\n

Vernon Adrian Emuang:\nLebih tinggi, lancar dan tepat<\/strong><\/p>\n\n\n\n

actor, film producer, a non-choreographer in <\/em>Choreography for Non-Choreopgraphers<\/p>\n\n\n\n

Through working with Krishen and The\nFive Arts Centre I learnt that art builds bridges, that art is proactive and\npre-emptive to every kind of social ill we can think of. That art is powerful.<\/p>\n\n\n\n

I look around at the communal\nfragmentation that still exists and it makes me wish for him to still be alive.\nIn his memory, I will strive to take my fluency of Bahasa Malaysia “ke\narah taraf kemahiran perbahasan yang lebih tinggi, lancar dan tepat’.<\/p>\n\n\n\n

Krishen was perhaps one of only two\nmen I knew who chose to never flaunt his uber-academic qualifications. That was\nhis way. Though absolutely deserving of such a distinction, I think he would\nhave been deeply embarrassed to be called Dato’ Krishen (and to some it would\nhave to be Dato’ Dr Krishen, OK?).<\/p>\n\n\n\n

So, while it may seem so mis-timed\nthat the honour arrive posthumously, I think it is kind of appropriate and so\nvery Krishen-esque.<\/p>\n\n\n\n

I can see him now in that big\nrehearsal studio in the sky, looking out in his quintessential, owl-ish way mischievously\nthinking, “For all the questionable Dato’s alive and down there right now,\nthere can be no possibility of MY Dato’ship ever being retracted for reasons of\nany kind… unless, of course, Marion… REALLY misbehaves!”<\/p>\n\n\n\n

Yes, the awesome wife he left\nbehind… not any mere Datin, but the Dato’ Dr’s better half! I rejoiced for\nMarion at this news in The New Straits Times (the daily that headlined it).\nBrava! Bravo! Congratulations!<\/p>\n\n\n\n

Mark Teh: Don’t get\nattached<\/strong><\/p>\n\n\n\n

actor in <\/em>In 1969, director of Baling (Membaling)<\/strong>, initiator of the Taman Medan Community Arts Project<\/em><\/p>\n\n\n\n

I think the aspect of Krishen that\nis particularly relevant for me at this moment was his experimental approach to\ntheatre-making, especially in light of the Experimental Workshop Series we’re\ndoing in his name this whole year. We sometimes forget that experimentation is\nlinked with numerous failures, successes and compromises along the way, and\nKrishen’s theatre was very concerned with a rigorous and passionate\ncriticality, an imaginative and ambitious ‘testing’ and ‘re-testing’, as well\nas the desire to not get attached to the results. It is this side of KJ that I\nam trying to process most consciously right now in our projects.<\/p>\n\n\n\n

Some of this experimentation was\nborne out of necessity of course — Krishen was never the type that waited\naround for the ideal time, place, budget or resources to get something done. In\nthe context of our current social climate and creative shortsightedness, that’s\na pretty good reminder.<\/p>\n\n\n\n

Gabrielle Low: Indian\nsweets<\/strong><\/p>\n\n\n\n

co-producer of <\/em>KJEWS, a non-choreographer in <\/em>Choreography\nfor Non-Choreographer<\/p>\n\n\n\n

I’ve managed somehow to separate my\nKrishen experiences quite neatly.<\/p>\n\n\n\n

There was, on the one hand, the\nIndian uncle who used to sit in on the rehearsals for our play, Lebih Kecoh<\/em> in 2001, observing and more\noften — and this is so legendary that it\u2019s quite a clich\u00e9 to note this —\ndozing off. Clich\u00e9 or no clich\u00e9, the power of Krishen\u2019s naps was such that he\nslept through even the barrage of reproaches our director, Rhona, launched at\npoor Mark Teh, who just couldn’t get his ‘Getaran Jiwa’ tune right. (Krishen\nrather liked Rhona; he approved of her methods of directing).<\/p>\n\n\n\n

Krishen and food — almost as\ninextricable as Krishen and napping. During our rehearsals, he often brought us\nIndian sweets that he could not eat because of his diabetes. And just before we\nhad to perform Lebih Kecoh<\/em> at a Five\nArts Centre ‘preview’ (similar to academic peer review, the preview is the\nbrutal, ritualistic tearing-apart of performances that are to be staged by\nmembers of the company, carried out by fellow members), he took us out for\ndinner to calm our nerves. Krishen only drank Milo that evening, I can’t\nremember why he didn’t order any food himself.<\/p>\n\n\n\n

Krishen was never condescending\ntowards us despite our youth. He listened to us and he talked problems through\nwith us, but he never ‘advised’ us. This, I think, is very rare. I miss that\nconfidence he gave us.<\/p>\n\n\n\n

I am finding it hard to extricate\nwhat I’ve learnt in order to attribute it directly to Krishen. The problem is\nthat what I’ve taken for granted as the givens of theatre-making, of theatre\nappreciation, I am slowly discovering are things that Krishen introduced,\npioneered, experimented with years ago…<\/p>\n\n\n\n

Experimental methods? I didn’t know it was experimental<\/em>. I thought that was how things were supposed<\/em> to be done. <\/p>\n\n\n\n

That ‘appearance’ exercise that I can’t stand — Krishen started it!<\/p>\n\n\n\n

I can’t trace the genealogies of\nlessons that may have come from Krishen. The legacy is more implicit than that.<\/p>\n\n\n\n

Ivy Josiah: Congrats\nto the Sultan<\/strong><\/p>\n\n\n\n

producer of <\/em>KJEWS, human rights activist<\/em><\/p>\n\n\n\n

Congratulations to the Sultan for\nrecognising KJ!<\/p>\n\n\n\n

Krishen taught me to be generous in\nall that I do. To boldly share ideas and to take chances. As a human rights\nactivist I draw on this.<\/p>\n\n\n\n

I see his legacy in the Five Arts\nCentre and the continued work, spirit and energy we generate in producing\nperformances that still leave audiences excited and perplexed.      \u00b7<\/p>\n\n\n\n

Jillian Ooi: A little\ndark-eyed dog<\/strong><\/p>\n\n\n\n

music director for Rhythm in Bronze<\/em><\/p>\n\n\n\n

Congratulations, Krishen. You have\nmanaged to piss Marion off because she now has to take half-day leave and dress\nup in her baju kurung and jewellery to accept this datukship on your behalf.<\/p>\n\n\n\n

Monkey Business<\/em> (gamelan theatre) was Krishen’s first and last work with Rhythm in\nBronze. Sunetra [Fernando] and I wanted to explore our roots with greater depth\nand make the boundaries between music, movement, story\u00adtelling, and voice as\nfuzzy as possible (you can see the Five Arts influence here!). There was no\nother person whom we had in mind when we conceived this project. It was always\nKrishen from day one.<\/p>\n\n\n\n

Funny how much about music we learnt\nfrom Krishen — and we thought we were the musicians! Krishen stressed again\nand again in our rehearsals that he didn’t want the usual Rhythm in Bronze\ngamelan stuff, which was, according to him, always beautiful and melodious and\nla la la… He asked for rawness and ugliness in our music this time. He seemed\nto think that that was more honest. “Who said life is beautiful?” he\nasked to prove his point.<\/p>\n\n\n\n

Unfortunately, we were never able to\nsee it through with him properly, which is something I am sure every performer\nin the production deeply regrets.<\/p>\n\n\n\n

Our present Rhythm in Bronze project\nwill be at the midpoint between what you saw in Monkey Business<\/em> and what you get in our usual concertised gamelan\nperformances. Elements of shadow play, movement, and story-telling will be\npresent in this performance as well. Those elements are of and largely because\nof Krishen.<\/p>\n\n\n\n

Some of us in Rhythm in Bronze saw\nhis spirit (and I do not mean this in a ghoulish sense) in a little dark-eyed\ndog in Sek San’s gallery the night we were setting up our wayang kulit screen,\ngetting ready for Utih… Celebrating\nKrishen<\/em>. It freaked us out no end. I went over to try to pat it but I\ndidn’t dare touch it in the end because its eyes were so like Krishen’s. It\nwatched us rehearse. As I went through the motions of the rehearsal, I had to\ntell myself to not keep on looking at the dog behind me for some kind of\ndirectorial input. I half-expected it to give a huge hacking cough too.<\/p>\n\n\n\n

Charlene Rajendran: Main\nteater, kerja teater<\/strong><\/p>\n\n\n\n

director of <\/em>My\nGrandmother’s Chicken Curry, academician\nat National University of Singapore<\/em><\/p>\n\n\n\n

Krishen created purposeful and\nprovocative spaces for thinking and feeling that enabled empowering encounters\nwith self and others. In the processes and performances he collaborated on,\nKrishen provided opportunities for ‘playing’ theatre (main teater) and\n‘working’ theatre (kerja teater), which have become lived experiences of being\nproactive, being Malaysian, being critical, being human and simply being! He\nwas bold in his vision for Malaysian theatre and shared his ideas with a\npassion that was deep and infectious. To honour Krishen is to create even more\nsustained and diverse opportunities that generate these sorts of dynamic spaces\nwithin the arts — rigorous, experimental, generous, wise and questioning.\nThrough symbolic representation and the power of metaphor Krishen helped deal\nwith crucial questions and painful ruptures in consciously critical and\ncompassionate ways. One of the ways that working with Krishen and developing an\nunderstanding of his work has affected my own approach been to ‘play’ more\npassionately and ‘work’ more wisely.<\/p>\n\n\n\n

Fred Lim How Ngean:\nGetting personal<\/strong><\/p>\n\n\n\n

actor, writer, director for <\/em>Adjudicating Sita<\/p>\n\n\n\n

KJ was the best cikgu in theatre\nanyone could have.<\/p>\n\n\n\n

I would be at his place with two\nbottles of red: Shiraz for Dato’ (he loved his Shiraz) & Cabernet Sauvignon\nfor Datin (Marion loves her Cab Savs). Then we would kick back and start the\ntoasting! I can imagine he would be amused, slapping his thigh while he\nguffawed: “Heh! Heh! Heh!”<\/p>\n\n\n\n

That’s if he was alive. Now that\nhe’s gone and to be recognised only when he’s dead, too late guys, too late!<\/p>\n\n\n\n

KJ taught me that every project is a\npersonal one and to love it — the script and the process, and to build\npersonal relationships with your co-actors for that particular project. Never\nto be afraid of getting personal with the projects.<\/p>\n\n\n\n

KJ is quintessential Malaysian\ntheatre.<\/p>\n\n\n\n

Where I saw his legacy recently: I\nwas helping Zahim remount Smell of\nLanguage + Notes on Love, Life and Painting<\/em> after KJ passed away. The\nprocess started with Zahim and I rewatching the video of the performance when\nKJ was still alive. However, it became more fruitful when we got down to\nrehearsing on the floor, trying to remember how KJ would approach certain\nscenes… In the remembering and questioning, I actually was learning again\nabout how he worked. It was an amazing experience for me.<\/p>\n\n\n\n

I was helping out in Ong Keng Sen’s Geisha in Tokyo<\/em> in May this year and it\n(KJ’s influence) is still evident in his (Ong’s) rehearsal process: negotiating\nhis own artistic vision with the mixing, merging and marrying of skills,\nartistry and talents of actors, musicians, designers from various backgrounds,\nethnicities and aesthetics. KJ was very key in Ong’s development as a director\nin the early years (the strategising, the questioning, the exploration, the\ncourage to keep trying) and it still shows even though Ong has come unto his\nown.<\/p>\n\n\n\n

Final word: KJ primed me and my\noutlook on theatre for the past ten years — it prepared me for my theatre\nfellowship in Tokyo now. Every time I see a new show in Tokyo I still find\nmyself asking what KJ would have thought about this… Not because I don’t have\nan opinion of my own but because inadvertently KJ’s opinions always\n“inform” my opinion even more.<\/p>\n\n\n\n

OK, am getting a little OTT, so\nthat’s it. <\/p>\n\n\n\n

Shit u have made me cry.<\/p>\n\n\n\n

Chee Sek Thim: A\ncontinuum of experiments<\/strong><\/p>\n\n\n\n

director of <\/em>Encore and <\/em>In 1969, gallery owner of Reka Art Space<\/em><\/p>\n\n\n\n

Krishen offered a viewpoint towards\nthe practice of theatre that went beyond producing a good show. He demonstrated\na working process that moved from one production to the other in a continuum of\nexperimentations that refined and defined ideas and visions. Each project feeds\ninto a larger process that has as its aim, a search for, and a crafting of a\nvoice.<\/p>\n\n\n\n

I have only directed four or five\nproductions so I am still searching for my voice. But Krishen tells me in\nDirectors’ Workshop II that I have a voice, so I believe him lah. From Ang Tau Mui<\/em> (by Leow Puay Tin), Descendants of the Eunuch Admiral<\/em> (by\nKuo Pao Kun) and Reconstructing Medea<\/em>,\nI have been trying to develop a physical vocabulary for performance.<\/p>\n\n\n\n

In In 1969<\/em> I am trying to work with physical vocabulary as a scale,\nnot unlike the musical scales composers use. But In 1969<\/em> is also a musical. “Encore” last year was my\nsurvey of the musical theatre vocabulary of Malaysia. In “In 1969” I\ntry to marry my interest in physical theatre with the musical to create a\nmusical theatre that has a more integrated expression of sound and movement.\nAbove all, I want to create exciting ways for people to access the thinking\nbehind the writing of the text and to produce art that does not leave you in\nthe cold every time a production ends.<\/p>\n\n\n\n

Krishen left a way of working that\nplaced deep emphasis in the body and mind of the actor as containing potential\nfor great theatre. It is the building of relationships between him and his\nactors through this paradigm on the rehearsal floor that his greatest work has\noften been played out. I feel his legacy lies in these experiences where he\nimparted an awareness of possibilities.<\/p>\n\n\n\n

Fahmi Fadzil: Great\nwankers<\/strong><\/p>\n\n\n\n

actor, facilitator of the Wayang Kulit workshop<\/em><\/p>\n\n\n\n

The Five Art’s Director’s Workshop —\nCPM, which was the last project that Krishen and the four new directors were\nsupposed to work on, I began to put to practice some of the ideas I had gleaned\nfrom conversations with Krishen: That it’s alright to fail, and one mustn’t\ncloud one’s perception with the thrill of ‘success’. That we don’t ever begin from\n‘Point Zero’. That there is always a precedent for whatever it is that we are\ndoing (at least most of the time), and it is important to recognise and to\nrecall to the present these precedents, and by doing so, form a relationship\nwith the past.<\/p>\n\n\n\n

In my own work for the upcoming\nwayang kulit project, I will always remember what Krishen said to me with\nregards ‘tradition’. Once, while watching the Rhythm In Bronze ensemble\nrehearse, Krishen remarked that we can never ever know for sure and with\ncertainty how exactly gamelan was played centuries ago. And it perhaps refracts\nour own efforts in attempting to seek the ‘authentic’ — because the\n‘authentic’ is always imagined, and by extension, is a romantic inflection. It\nis best to accept that the past is continuously re-presented, and the present\nis where the ‘authentic’ must be. So, tradition is what we make of it. So what\nKrishen then asked the RIB girls to do was just play. Just play. The tradition\nwill settle itself.<\/p>\n\n\n\n

The one thing which I thought was\npossessed of a spirit akin to the inquisitive part of Krishen’s semangat, for\nme I think, was Tokyo Notes<\/em>, by\nSeinendan Theatre, Japan. In Malaysian performing arts, there hasn’t been very\nmuch, and so I’m wont to think of Krishen’s remark (Malaysians are great\nwankers — can find in KJEWS booklet).<\/p>\n\n\n\n

“Wayang will undoubtedly change. But in which direction, we will never know.” — from an article on Pak Hamzah’s master, in Uncommon Position<\/em> [an anthology of Krishen’s essay]<\/p>\n\n\n\n

Anne James: The work\nis never finished<\/strong><\/p>\n\n\n\n

teacher, director, actor in <\/em>Adjudicating Sita<\/p>\n\n\n\n

It’s about time! We talk about our\nrich cultural heritage but our cultural icons are the last to be acknowledged.\nWe choose to confer Datukships first on our politicians (who lead without a\nconscience) and business leaders (who care for nothing but the pursuit of\nwealth aided and abetted by their co-conspirators the politicians). In the meantime\nour cultural and intellectual icons are acknowledged almost as afterthoughts.\nNevertheless I am glad he is finally acknowledged in this way in his country of\nbirth.<\/p>\n\n\n\n

Krishen above all taught me about\npresence on stage, about being truthful without being ‘method-like’ or\ntechnical about it. He expected me to give my ALL when I was on stage —\nphysically, mentally, emotionally, psychologically -\u00ad he expected everything.\nThe rehearsal process with him was always fraught and at the end of each show\nwe did together, I would stay away from him for a while because it was just too\npainful to be near him. We spent 20 years doing this… joget. Though in the\nlast two shows I did with him we seemed to have moved to a new place. I tried\nto ask him what that was about. He never quite explained it to my satisfaction.<\/p>\n\n\n\n

Krishen’s influence on me: That\neverything shown need not be fully explained or made clear. Life is not like\nthat. That when watching a performance the audience will be required to\n“work” and experience, even if it is uncomfortable, that they go\nthrough a visceral experience. That in presenting this “play” we\ncreate images and experiences that resonate in the minds and bodies of those\nwho endure the process.<\/p>\n\n\n\n

Krishen’s legacy: The work of\ncreation is never finished. Not the work on ourselves. Not the work on the\nmaking of theatre. Not the way we talk about theatre. Life in theatre is a work\nin progress.<\/p>\n\n\n\n

I saw his legacy at “Utih…\nCelebrating Krishen” when we ate, drank, sweated, performed and remembered\nnot his death but his life. When remembering was a celebration; and I drank\ndeeply.<\/p>\n\n\n\n

~~~<\/p>\n\n\n\n

In 1969<\/em> will run at the Sunway College Rooftop Theatre from Fri 4 – Sun 6 Aug 2006 (Fri & Sat: 8.30pm; Sun: 3pm). Admission is free.<\/strong><\/p>\n\n\n\n

First Published: 27.07.2006 on Kakiseni <\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

So the Yang di Pertuan Besar of Negeri Sembilan, on the occasion of his 84th birthday, handed out 1441 royal gifts in the forms of titles and certificates to outstanding Malaysians, as is his wont (last year, he gave one to Datuk Faridah Merican, much to our collective delight). Not that a mere title should […]<\/p>\n","protected":false},"author":11,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"iawp_total_views":7,"footnotes":""},"categories":[7758,7781,7762],"tags":[723,844,4211,1393,1210,4209,4210,4207,867,573,247,4204,1385,1394,3859,265,744,771,700,920,4205,4212,803,798,240,4203,4200,1859,4202,4206,4208,46,4201,757,4214,601],"language":[7785],"writer":[7966],"class_list":["post-27564","post","type-post","status-publish","format-standard","hentry","category-artikel","category-seni","category-teater","tag-anne-james","tag-arts","tag-beth-yap","tag-charlene-rajendran","tag-chee-sek-thim","tag-choreography-for-non-choreopgraphers","tag-datukship","tag-experimental-workshop-series","tag-fahmi-fadzil","tag-faridah-merican","tag-five-arts-centre","tag-fred-lim-how-ngean","tag-gabrielle-low","tag-ivy-josiah","tag-jillian-ooi","tag-krishen-jit","tag-kuo-pao-kun","tag-leow-puay-tin","tag-marion-dcruz","tag-mark-teh","tag-national-university-of-singapore","tag-negeri-sembilan","tag-ong-keng-sen","tag-reka-art-space","tag-rhythm-in-bronze","tag-seinendan-theatre","tag-seksan-gallery","tag-sunetra-fernando","tag-sunway-college-rooftop-theatre","tag-taman-medan-community-arts-project","tag-the-new-straits-times","tag-theatre","tag-utih","tag-vernon-adrian-emuang","tag-yang-dipertuan-besar-negeri-sembilan","tag-zahim-albakri","language-inggeris","writer-kakiseni-ms"],"acf":[],"_links":{"self":[{"href":"https:\/\/myartmemoryproject.com\/ms\/wp-json\/wp\/v2\/posts\/27564","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/myartmemoryproject.com\/ms\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/myartmemoryproject.com\/ms\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/myartmemoryproject.com\/ms\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/myartmemoryproject.com\/ms\/wp-json\/wp\/v2\/comments?post=27564"}],"version-history":[{"count":4,"href":"https:\/\/myartmemoryproject.com\/ms\/wp-json\/wp\/v2\/posts\/27564\/revisions"}],"predecessor-version":[{"id":39099,"href":"https:\/\/myartmemoryproject.com\/ms\/wp-json\/wp\/v2\/posts\/27564\/revisions\/39099"}],"wp:attachment":[{"href":"https:\/\/myartmemoryproject.com\/ms\/wp-json\/wp\/v2\/media?parent=27564"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myartmemoryproject.com\/ms\/wp-json\/wp\/v2\/categories?post=27564"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myartmemoryproject.com\/ms\/wp-json\/wp\/v2\/tags?post=27564"},{"taxonomy":"language","embeddable":true,"href":"https:\/\/myartmemoryproject.com\/ms\/wp-json\/wp\/v2\/language?post=27564"},{"taxonomy":"writer","embeddable":true,"href":"https:\/\/myartmemoryproject.com\/ms\/wp-json\/wp\/v2\/writer?post=27564"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}