{"id":247,"date":"2017-10-02T17:41:05","date_gmt":"2017-10-02T14:41:05","guid":{"rendered":"http:\/\/disco.teak.fi\/asia\/?p=247"},"modified":"2023-05-16T10:45:38","modified_gmt":"2023-05-16T07:45:38","slug":"manipuri-dances-the-isolated-dance-tradition-of-northeastern-india","status":"publish","type":"post","link":"https:\/\/disco.teak.fi\/asia\/manipuri-dances-the-isolated-dance-tradition-of-northeastern-india\/","title":{"rendered":"<em>Manipuri Dances<\/em>, the Isolated Dance Tradition of Northeastern India"},"content":{"rendered":"<p>Just like the southern state of Kerala, the tiny northeastern state of Manipur also has its own rich theatrical tradition, which preserves both archaic and animistic, as well as later \u201cclassical\u201d, forms. While most of Kerala\u2019s genres are firmly related to the classical <i>(margi)<\/i> <i>Natyashastra<\/i>-related tradition, the dance-orientated forms of Manipur have evolved in isolation and have retained their unique style and spirit to this day.<\/p>\n<p>The valley state of Manipur lies amidst the hills of the easternmost part of India, bordering Nagaland in the north, Assam in the west and Myanmar (Burma) in the east. Thus, in fact, it belongs to the Southeast-Asian cultural sphere, which is also reflected in its dance traditions.<\/p>\n<p>The people of the Manipur valley are called Meities (also Meeteis) and they trace their antiquity back to Vedic times. The indigenous, animistic belief system, <i>Sanamahi<\/i>, is very much a living tradition still today, although the Krishna <i>bhakti<\/i> form of Hinduism was adopted in Manipur as a state religion in the 15<sup>th<\/sup> century.<\/p>\n<p>In Manipur the ancient belief system and the culture it created are interwoven with Hinduism. This is clearly reflected in the rich dance tradition in which Hindu themes are performed in a uniquely indigenous style, while at the same time some dances are still related directly to the <i>Sanamahi<\/i> religion and its rituals and ceremonies.<\/p>\n<p>Manipur also has its own tradition of martial arts, <i>thangta<\/i>. It includes exercises without weapons and exercises with weapons, as well as solo and group exercises. It probably has a very long history, as is indicated by its aspects related to the archaic weapon worship. The basic choreography of the exercises repeats the form of an 8, as do the body and hand movements too. This is also the most characteristic feature of all <i>Manipuri<\/i> dances.<\/p>\n<h2>The History<\/h2>\n<p>The earliest written evidence of <i>Manipuri<\/i> dances is a copper-plate inscription from the 2<sup>nd<\/sup> century AD crediting a certain king with introducing drums and cymbals into Manipuri dances. They are still the main instruments used for accompaniment.<\/p>\n<p>The arrival of Krishna <i>bhakti<\/i> in Manipur in the 15<sup>th<\/sup> century provided new functions and themes for dance. The classical <i>bhakti<\/i> poetry became the main textual sources for Manipuri <i>bhakti-<\/i>related dance-dramas, called <i>raslilas<\/i>.<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 12%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-1' class='gallery galleryid-247 gallery-columns-8 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in126.jpg'><img width=\"640\" height=\"414\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in126.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-1-1116\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-1116'>\n\t\t\t\t<em>Raslilas<\/em>, like other Manipuri dances, are characterised by soft, spiral-like movements <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<p>It was probably in the 18<sup>th<\/sup> century that the dance-dramas related to Hinduism, the <i>raslilas<\/i>, got their present form. This is indicated by the fact that Maharaja Bhagyachandra (who ruled in 1759\u20131798) composed three of the five types of <i>raslilas.<\/i> He also designed the peculiar barrel-like dance costume, characteristic of the <i>raslila<\/i> tradition still today. The <i>Manipuri<\/i> dance manual, the <i>Govindasangeet Lila Vilasa<\/i>, is also attributed to him. In the 19<sup>th<\/sup> century two other Maharajas further expanded the repertoire.<\/p>\n<p><i>Manipuri<\/i> dances became nationally known after the Bengali philosopher, poet and winner of the Nobel Prize for Literature, Rabindranath Tagore, saw <i>Manipuri<\/i> dances in 1919 and became a great admirer of them. He invited an important teacher-guru to teach them at Santiniketan, his own university.<\/p>\n<p>Later, <i>Manipuri<\/i> dances were admitted to the list discussed above of the \u201cclassical\u201d Indian dance traditions, although they, in fact, have very little in common with the other <i>margi-<\/i>style classical dance forms. Now they are widely taught and performed throughout India, and many interesting modern adaptations of the style have been made and are still being made at the moment.<\/p>\n<h2>The Technique<\/h2>\n<p>The <i>Manipuri<\/i> dance technique is characterised by a soft and graceful quality of movement. As already mentioned in connection with the local martial arts technique, <i>thangta<\/i>, both the floor patterns and the body movements tend to repeat the shape of an 8. The movements are round, having a kind of endless, flowing, and spiral-like quality.<\/p>\n<p>Some aspects of the dances seem to reflect the influence of the <i>Natyashastra-<\/i>related tradition. They include the expressions of the <i>rasa<\/i> sentiments, mostly those of love and longing, as often in the <i>bhakti-<\/i>related dance forms. Some of the standing positions, too, seem to correspond to the <i>Natyshastra\u2019s<\/i> codifications.<\/p>\n<p>In many respects the <i>Manipuri<\/i> dance technique, however, seems to be unique to India; it is more closely related to northern Southeast Asian traditions than to those of the Indian subcontinent. The <i>Manipuri<\/i> repertoire concentrates on group choreographies, which are relatively rare in other Indian classical dance forms. Furthermore, <i>Manipuri<\/i> dancers do not wear ankle bells, which form an important element of almost all other dance forms in India.<\/p>\n<p>In the <i>Manipuri<\/i> technique there are no sharp deflections of the body, so characteristic of southern Indian dances. The dancers move in a serpentine gait with corresponding movements of the body, the arms, and the hands. The female style aims at closed, low positions in which the feet never rise above the knee level, whereas in the masculine style the movements aim more upwards, and even energetic, acrobatic jumps and leaps may be employed.<\/p>\n<h2>The Repertoire<\/h2>\n<p>The repertoire of the <i>Manipuri<\/i> dances may be divided roughly into two categories, those related to the indigenous pre-Hindu belief system and those related to the Krishna <i>bhakti<\/i> themes. These categories, however, overlap, since even the <i>bhakti<\/i>-related dances are performed in the indigenous style.<\/p>\n<p>Possibly one of the most archaic forms of Manipuri dances is the <i>maibi<\/i> dance, which was originally performed during the <i>Laiharoba<\/i> festival, related to the indigenous <i>Sanamani<\/i> religion. As with most of the Manipuri dances, <i>maibi<\/i> is also a group dance, in this case originally performed by spirit priestesses. Its choreography reflects the ancient cosmological concepts of the Meitei people.<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-2 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 12%;\n\t\t\t}\n\t\t\t#gallery-2 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-2' class='gallery galleryid-247 gallery-columns-8 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in127.jpg'><img width=\"600\" height=\"397\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in127.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-2-1117\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-2-1117'>\n\t\t\t\tDrum dance <span>Sakari Viika<\/span>\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-3 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-3 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 16%;\n\t\t\t}\n\t\t\t#gallery-3 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-3 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-3' class='gallery galleryid-247 gallery-columns-6 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in128.jpg'><img width=\"402\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in128.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-3-1118\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-3-1118'>\n\t\t\t\tCymbal dance <span>Sakari Viika<\/span>\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-4 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-4 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 12%;\n\t\t\t}\n\t\t\t#gallery-4 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-4 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-4' class='gallery galleryid-247 gallery-columns-8 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in129.jpg'><img width=\"600\" height=\"397\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in129.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-4-1119\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-4-1119'>\n\t\t\t\tCymbal dance <span>Sakari Viika<\/span>\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<p>Several of the male group dances, such as <i>pung cholam<\/i> (drum dance), <i>nupa pala<\/i> and <i>karta cholam<\/i> (cymbal dances) have a deeply hypnotic quality. They usually start softly and slowly while the tempo gradually increases. The cyclic, serpent-like movements are repeated while the performers play their instruments at the same time. The dances, performed by male performers in snow-white loincloths and often with ball-shaped, white turbans, combine movement and sound in a unique way.<\/p>\n<p><i>Khamba thoibi<\/i> is exceptionally a duo dance with a narrative content. It portrays a love affair between a prince and princess of warring clans. The instruments accompanying most <i>Manipuri<\/i> dances include a <i>pung<\/i> drum, cymbals, and some wind instruments, most often a flute.<\/p>\n<h2>Raslilas<\/h2>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-5 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-5 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 100%;\n\t\t\t}\n\t\t\t#gallery-5 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-5 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-5' class='gallery galleryid-247 gallery-columns-1 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in130.jpg'><img width=\"640\" height=\"414\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in130.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-5-1120\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-5-1120'>\n\t\t\t\t<em>Raslilas<\/em> most often depict events from Krishna\u2019s amorous youth <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p>The Krishna-related dance-dramas of Manipur are called <i>raslilas<\/i> (<i>ras<\/i>, sometimes also <i>raas<\/i> means dance; <i>lila<\/i>, play) or simply <i>ras dances<\/i>. They are large compositions, most often performed by a group of female dancers, although all-male troupes, dancing in female disguise, also exist.<\/p>\n<p>Like the <i>raslilas<\/i> of the Delhi region, which have been discussed above in the sections dealing with forms of pilgrimage theatre, Manipur <i>raslilas<\/i> are also the result of the widespread Krishna <i>bhakti<\/i> cult, which reached Manipur in the 15<sup>th<\/sup> century.<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-6 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-6 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 100%;\n\t\t\t}\n\t\t\t#gallery-6 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-6 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-6' class='gallery galleryid-247 gallery-columns-1 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in131.jpg'><img width=\"640\" height=\"414\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in131.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-6-1121\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-6-1121'>\n\t\t\t\tRadha and Krishna <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p>All the plays illustrate episodes from Krishna\u2019s life, mainly the miracles and loves of his childhood and youth. There are five <i>raslilas<\/i> focusing on the Radha-Krishna theme and several others illustrating various episodes of Krishna\u2019s life. Many of the main <i>raslilas<\/i> have been composed by Maharajas of Manipur. Other poems are also used, including the works of important <i>bhakti<\/i> poets, such as Jayadeva, Vidyapati, and Chandidas.<\/p>\n<p>The dance-dramas, dominated by group formations, also include several duos and solo dances. All the female characters, that is, Radha and <i>gopi<\/i> cowherd girls, dance in the graceful <i>lasya<\/i> style, while Krishna, also played by a female dancer, employs a more energetic and playful <i>tandava<\/i> style.<\/p>\n<p>Traditionally <i>raslilas<\/i> have been performed in a specific enclosure in front of a temple. No backdrops or other stagecraft are used. The dance is dominated by peculiar costuming, which is said to have been designed by Maharaja Bhagyachandra in the 18<sup>th<\/sup> century. A legend says that he saw the <i>ras<\/i> dance of the <i>gopis<\/i> in a dream and that the present dance costumes were designed according to his vision.<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-7 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-7 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 100%;\n\t\t\t}\n\t\t\t#gallery-7 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-7 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-7' class='gallery galleryid-247 gallery-columns-1 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in132.jpg'><img width=\"640\" height=\"414\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in132.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-7-1122\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-7-1122'>\n\t\t\t\tA dancer disappears inside her barrel-like skirt <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p>The costume for the female roles is dominated by a large barrel-like skirt, which with its floating movements emphasises the dancers\u2019 whirling. There is an unexpected sequence of movements in which the whirling dancers suddenly bend down and almost disappear inside their stiff skirts.<\/p>\n<p>The female dancers\u2019 heads are covered with short, glittering veils. The dancer who plays the role of Krishna wears a more simple costume with a blouse and a wrapped dhoti-like lower garment. On her head she wears Krishna\u2019s obligatory peacock feather crown.<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-8 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-8 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 100%;\n\t\t\t}\n\t\t\t#gallery-8 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-8 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-8' class='gallery galleryid-247 gallery-columns-1 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in133.jpg'><img width=\"640\" height=\"414\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in133.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-8-1123\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-8-1123'>\n\t\t\t\tKrishna is covered by coloured powder during the <em>holi<\/em> festival <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p>The glittering costumes with their deep greens, yellows, and reds, and the seemingly endless repetition and elaboration of the soft curves of the <i>Manipuri<\/i> technique give <i>raslilas<\/i> a dreamlike quality. It easily coaxes the spectators into experiencing the gentleness and warmth of <i>bhakti<\/i> art.<\/p>\n<p>The whole group of Manipuri ritual singing, drumming and dance traditions were included in UNESCO list of the Intangible Cultural Heritage of Humanity in 2013.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Just like the southern state of Kerala, the tiny northeastern state of Manipur also has its own rich theatrical tradition, which preserves both archaic and animistic, as well as later \u201cclassical\u201d, forms. While most of Kerala\u2019s genres are firmly related to the classical (margi) Natyashastra-related tradition, the dance-orientated forms of Manipur have evolved in isolation [&#8230;]<\/p>\n","protected":false},"author":2,"featured_media":2373,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[13],"tags":[50,40],"acf":[],"_links":{"self":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts\/247"}],"collection":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/comments?post=247"}],"version-history":[{"count":6,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts\/247\/revisions"}],"predecessor-version":[{"id":3502,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts\/247\/revisions\/3502"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/media\/2373"}],"wp:attachment":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/media?parent=247"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/categories?post=247"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/tags?post=247"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}