{"id":5193,"date":"2008-08-03T13:27:00","date_gmt":"2008-08-03T11:27:00","guid":{"rendered":""},"modified":"2020-09-06T19:01:18","modified_gmt":"2020-09-06T17:01:18","slug":"conferencia-madeleine-lions","status":"publish","type":"post","link":"https:\/\/www.teiamoner.net\/en\/conferencia-madeleine-lions\/","title":{"rendered":"Madeleine Lions Conference"},"content":{"rendered":"
\nI International Education and Puppet Day 2008
\n<\/span><\/div>\n
\nMADELEINE LYONS CONFERENCE<\/span> <\/span><\/div>\n
\nCan the puppet help the integration of foreign children and teenagers in school?<\/b><\/span>\n<\/div>\n
\n<\/div>\n

\nThe paths of my life<\/span><\/h2>\n
\nI don't know who said: "The roads don't exist." You do them while walking!\n<\/div>\n
\nCan
\n be because of Compostela that I remember this sentence. when i go
\nto embark on this great adventure "Puppet and Therapy", they already existed
\nsome major axes that had been traced by psychoanalysts who
\nthey were considering the opportunity to use the puppet in the field of
\n therapy and, in our association, we have been inspired by work
\nby Madeleine Lambert. She may not be the first to use the
\npuppet to unlock some traumatized children, but as far as I know
\nshe was the first to publish her experiences. I will speak no more
\nof her, since Teia Moner has explained it in a historical picture in the
\nyour website on the Internet.\n<\/div>\n
\nPer
\n me, my first reference was George Sand and also Lemercier
\nof Neuville. The two initially started using the puppets
\nto amuse their sick children. But they got stuck in the game.
\nThat's what interested me about these two characters, the benefit
\nfor their children. Maurice, the son of George Sand, had his own
\nmother - and she for him - strange feelings. George, the dominatrix, no
\nit left room for Maurice's biological father. All these gentlemen
\ntalented people who shared in turn the intimacy of their mother, the
\nthey made suffer terribly.\n<\/div>\n
\nhe
\n it was loose, passive, full of untapped possibilities. By Lemercier
\n de Neuville, it was simpler, but perhaps more painful, although it is not
\n can calculate suffering! His son was sick and dying. I don't know if
\nhe survived, but his father became one of our more
\ngreat puppeteers of the 19th century, a ridiculing "showroom puppeteer".
\nwithout stopping the politics of his time.\n<\/div>\n
\nThinking
\n in them, I wonder what parents should do to focus on the
\ndisability of their children? Nobody is ready. How should it be done? The
\n struggle is constant and often there are no tangible results. Jacqueline
\nRochette thought to help her last daughter born with trisomy.<\/div>\n
\nPer
\n my band, due to my hospitalization after a
\ntraffic accident I learned the extent of the needs of children
\nwith physical disabilities or traumatic life conditions
\nunbearable\n<\/div>\n
\nalmost
\n cave, I started doing puppet shows in the
\nhospitals to amuse the children and make them forget for a moment
\ntheir sufferings and, like George Sand and Lemercier de Neuville, \u201cI go
\nstick in the game\u201d!\n<\/div>\n
\nquickly,
\n I realized that if there were already some big well-drawn axes, there
\nthere was also the possibility, while walking, of tracing single tracks
\nignored There are still many paths to discover, roads that have
\nto expand and become secure. But beware, you should not believe in
\nthe highways that go too fast and that cross the main axes
\nwithout showing us any of the simple and primordial beauties of the
\nnature.\n<\/div>\n
\nHi
\n there are many published documents and reports of serious experiences that are
\n can take as reference. To go on great roads, we must
\nwear good shoes and a good walking stick. In other words: have one
\n solid basic training in mediation and therapy. A pianist
\nhe can improvise if he acquired and assimilated all the bases
\nessentials of solfege. It is to leave the tarred road for
\nwalk on the stoniest paths. Adventure for little ones
\nfootpaths Sensing that there is a possibility of using the
\npuppet as a therapeutic mediator in an area where it has not been used
\nstill, or in an area that is unknown to us, is to open a way because
\nothers take advantage of this finding.\n<\/div>\n
\nHe
\n path is made in the forest. Each traces its own path, but it is
\na compass is necessary so as not to get lost. Attention danger! Do not put in
\nanother in danger. Attention: do not lose yourself. Know how to step back,
\nask for help, get back on track if you meet someone who knows where they are.
\n Take note and make marks as, in another way, the forest does
\ntheir rights prevail and the path is cleared. We are investigating and no
\nrambling Encounters are often made along the way; on my side,
\nI found the Puppet. After the arrival of cinema and the
\ntelevision, the puppet has seen a real decline.\n<\/div>\n
\nAfter
\n from being a children's game, it was transformed into a teaching material for
\nto teachers in nursery or preparatory classes (CP).
\nUsed as mediation, the puppet lends its support to create one
\n playful space where learning is done more easily. Help to
\nsocialization and to get out of difficult situations, such as separation from the
\n mother Children talk and say with a puppet; that's why
\nMadeleine Rambert used it in 1938 in psychiatry as a means of
\n transfer since it facilitated expression, making the
\nfeelings of the unconscious.\n<\/div>\n
\nIn
\n in the fifties, the puppet saw a renaissance. the puppet
\nwas to occupy an often important role during the war, the ancients
\nscouts introduced her to the "stalags". Freed, some leave
\nbecome professional puppeteers. You tend to forget this one
\ndone Thanks to the scout movements Jacques F\u00e9lix was able to form the
\ncompany of Little Chiffon Comedians<\/i> and organize the
\nfirst international festival in Charleville-M\u00e9zi\u00e8res that happened in
\nbe for puppets what the Avignon Festival is for theatre. Is it like that
\n how adults found an interest in puppet shows.\n<\/div>\n
\nHe
\n Dr. Rojas Berm\u00fadez was a pioneer in the use of theater
\npuppets in adult psychiatry. Associated with psychodrama, it suits him
\nprovide precious help to establish privileged relationships with
\nlong-term hospitalized psychopathic patients who lost everything
\n concept of socialization. After having lived a long time in
\nArgentina, he returned again to Spain where he created a school in Seville
\nof psychodrama and puppets. Dr. Ernesto Fonseca, his student, goes
\ncreate one in Barcelona. In France, in the seventies, they were created
\ntherapeutic workshops in different psychiatric hospitals. Dr. Jean
\nGarrab\u00e9 and his team were the first to write a book about it
\nyour practice\n<\/div>\n
\nColette
\n Duflot, in his book "Donis marionnettes pour li dire", spoke
\nof the clinical cases found in his therapeutic workshop of the hospital
\n Mayenne (53). Jean Garrab\u00e9 and Colette Duflot are the cause of the creation
\n from "Marionnette et Th\u00e9rapie". His two workshops were \u201cworkshops
\nclosed". They were essentially therapeutic, they were places of care and they are not
\nthey showed nothing In the B\u00e9lair hospital, in Charleville-M\u00e9zi\u00e8res (08) and in
\n the Saint-\u00c9gr\u00e8ve hospital (near Grenoble, 38), the workshops
\nend with a show. The aim of these workshops is
\nto socialize Keep in mind that they are led by occupational therapists.
\nThese examples place well the various roles of the puppet in different
\n situations\n<\/div>\n
\nPer
\n in prisoners of war, the puppet played a real role
\ncathartic: being able to laugh at the enemy's expense; spread the information to the
\n their backs\n<\/div>\n
\nFor Rojas Berm\u00fadez, it re-humanizes patients fossilized in their psychosis.\n<\/div>\n
\nPer
\n to Jean Garrab\u00e9 and Colette Duflot, it cures and serves as a work of analysis.
\n For Fran\u00e7ois Renaud, of CH B\u00e9lair, and Juan-Louis Torre-Quadrada,
\nof the CH de Saint-\u00c9gr\u00e8ve, have therapeutic effects facilitating the
\nsocialization\n<\/div>\n
\nthey are
\n these are some examples to show that the puppet theater can
\nadapt to different situations with the condition of specifying well when
\nis it going to be used? for whom Because? How? It must be structured well
\npicture and the frame, and the therapist or pedagogue must not improvise otherwise
\nthey are trained for these functions.\n<\/div>\n
\nIn
\n my way, I had to carry out workshops with objectives
\ntherapeutic This was for me to commit to a path that was not mine
\n familiar I quickly understood the importance of acquiring one
\ngood training and have supervision. When I conduct workshops for children or
\n adults with physical disabilities or who suffer from developmental diseases such as
\nmyopathy, I study these different diseases to understand the
\nevolution process.\n<\/div>\n
\nYes
\n I was able to hold teaching workshops, that's why I had the practice
\nof working with adolescents using other mediations (workshop
\nof enamels on copper in a M.JC \u2013 House of youth and culture).
\nI think that the greatest quality for a therapist or a pedagogue is the
\nvigilance Even with a lot of experience, no one is exempt from
\nsurprises! I have to say I had some when I did workshops
\n with puppets for national education.\n<\/div>\n
\nI will
\n having to train teachers in the use of puppet theater in
\n the framework of his training in normal schools and later in
\nthe IOFM, both in metropolitan France and in Martinique or in the
\nmeeting This allowed me to have the possibility to introduce the theater
\n of puppets in the teaching of students who were preparing a BEP
\n"health and social", in the framework of the PAE (animation project
\neducational). These PAEs were extended in one school from 1985 to 1992.
\n In 1992, it was no longer available and three directors succeeded each other
\ndue to suicide, depression and a request to change
\nwork placement. Nothing was easy with these teenagers, but everything was
\npossible on the condition that you get involved personally and earn them the
\nconfidence\n<\/div>\n
\nCurrently,
\n I pass the baton on to my granddaughter Delphine. I started it in the theater
\nof shadows He used it with teenagers between 17 and 19 years old while
\n she was their monitor, a few years older than them. He managed
\n interest them despite the fact that the only thing important to them were the videos
\ngames During his year of internship, after having
\npassed the help of the IOFM, worked for three weeks with
\na kindergarten class. These children had great joy and
\nsurprise to learn that they all possessed a shadow that follows them or that
\n always precedes It is a great happiness for me to note that
\nI was able to pass on some of my knowledge to my granddaughter; has
\na long road to take, but it follows an attractive rutted path.\n<\/div>\n
\nBarcelona
\n she is not unknown to me. I discovered it and liked it immediately
\nwhen I came to participate in the Caldes de Montbui festival.
\nSilvia Bierkens, who created the Spanish association "Marioneta i
\nTherapy" followed in France all the internship periods of "
\nPuppet and Therapy\u201d. He worked with me in therapeutic workshops with
\nautistic and psychopathic young adults. I have great admiration for Jordi
\nBertrand; we had the surprise of finding ourselves in Curitiba, in Brazil. there
\n there is also an association "Marioneta and Therapy-Brazil" in Curitiba.\n<\/div>\n
\ni am
\n admired for the work done by Teia Moner. It is a pharamineux work!
\nBut also very serious work that rests on solid foundations.
\nI note that Catalonia is now at the forefront of research, for
\n what does the puppet theater do in primary and children's schools.
\nThe School of Psychodrama and Sociometry of Catalonia, as well as the
\nSeville, shows the energy that transports it. This is very good for me because,
\n currently in France I have the impression that we don't move much.<\/div>\n

\nWork in public school<\/span><\/h2>\n
\nIn
\n the framework of "Marionnette et Th\u00e9rapie", I often worked on
\nthe public school On the one hand, I intervened for several years in
\nthe academies of Cr\u00e9teil, La Rochelle, Laval, Nantes, Orleans,
\nPerpignan, Reims, Tours, Saint-Denis of the Reunion, Fort-de-France in the
\ntraining of reeducators and I was lucky to work with Mr.
\nYves de La Monneraye and Ivan Darrault-Harris, authors of notable works
\nwhich we often quote in our interventions. On the other hand, I go
\nto encourage in Tours in 1991 a national meeting that brought together a
\ntwenty-five personalities from all regions of France. I
\nalways at the request of the public school, I have given lectures of
\nawareness about the interest of using the theater of
\npuppets to help students with school difficulties and show them
\ndifferent media impacts of the puppet.<\/p>\n

In 1982, one of these
\nconferences made in the Normal School of Sant-Denis (93) led to
\n a long cooperation. I then worked for several years in
\na LIP (vocational training institute) in the Paris region where,
\n in the framework of a PAI (educational animation project) the students of
\n "sanitary and social" successfully represented Hamlet. On the other hand,
\nfor four years, from 1992 to 1995, four professors of the academy
\nfrom Orleans (45) participated with me and a Franco-Germanic group in one
\nresearch on \u201cpuppet theater as a field of experience
\nintercultural", this was done within the framework of the OFAJ (office
\nFranco-Germanic for the youth) with the double participation of
\nthe HILF (Hessian Institute of Continuing Education) in Weilburg and from \u201d
\nMarionnette et Th\u00e9rapie\u201d in Marly-li-Roi (78).<\/p>\n

Before I go on, I must
\nremember the name of Lazarine Bergeret, teacher I had the joy of
\n find when I began to discover the puppet and its multiples
\n aspects. Lazarine Bergeret, and her mother before her, were
\namong the first people to use the puppet as a material
\n pedagogical in France in the nursery school. Lazarine Bergeret goes to me
\ntell many adventures happened to his famous character Mr.
\nBerlingot <\/p><\/div>\n

\n
\nHe
\n puppet was known at the nursery school Varenne (94) \u2013 paradoxically
\nI live very close to there \u2013 then next to Blancs Abrics school
\nwhere Lazarine Bergeret finished her teaching career. Mr.
\nBerlingot, now rests in the Pedagogical Museum on Ulm Street.
\nLazarine and her mother gave a large number of puppets to this one
\nMuseum.<\/p>\n

This conference held in 1982 had extensions and
\nthanks to her I found a couple of teachers very committed to
\n his job Both are professors of Plastic Art in the same
\nprofessional training institute (LIP). This school is located in
\n the northeastern suburb of Paris, in a place of risk, so to speak.
\nWhen, in the academy, these LIPs are discussed, it would be said that they invoke a
\n Attila! .Well, in this LIP, I would have many joys. And if I go
\nsometimes have difficulties in this place, most of them were due
\n to teachers who didn't like puppets, or who looked down on them
\neyes to some of his former students \u2013 considered whole donkeys \u2013
\nthat they were interested in an activity and that they made progress at school
\nsurprising due to an unlock.\n<\/div>\n

\nwe go
\n decide in agreement with the director to dedicate every Friday afternoon (4
\nhours) to the puppets, together with three teachers: a teacher of
\nFrench, one of health and social and one of plastic art. The teacher of
\nhealth and social was also because it was a class that
\nwas preparing a "Health and Social" BIP. These students have
\nperiods of practice that they must carry out during their school year, or
\nin nurseries, or in nursery schools, or in homes for young workers
\n or in nursing homes.<\/p>\n

In reality, these students go where they are accepted
\n and the director's report and assessment of the place they go to are very important
\nimportant to approve your BIP. From the first day the students
\n they were passionate about this activity. It is necessary to say that the
\nschool had done things well. During the first week, the students
\n they followed "a full puppet training period".
\nDownloaded from any other subject, throughout this one
\nweek, they each built a puppet in their own way (no theme
\n initial). The puppet was given a name and placed in one
\nscenario made by the students. The puppets were chosen at random, by
\nso there were many different situations for each character.\n<\/div>\n

\nThis one
\n class was privileged, twelve students, but of different nationalities
\ndifferent: Algeria, the West Indies, Madagascar, Morocco, Poland,
\nPortugal, Tunisia, Turkey. Of different religions: animist, atheist,
\nCatholic, Jewish, Muslim, Protestant. This group formed a team
\ncompact All passed their BIP I had recently
\nnews of one of them; she is now director of a leisure center and in her own
\ncenter the puppet has a privileged place. The stories written by
\nthese young ladies were surprisingly sensible. We never criticize him
\nhis work, we had the greatest possible understanding. They accepted
\nwithout saying a word do all the exercises: mime, masks, manipulation of
\ntwo types of puppets, glove and marota. We take them to various museums
\nSaturday: ATP Museum, Fashion Museum, Louvre, Kwok On Museum.
\nWe take them to see puppet shows. It wasn't always easy
\norganize these afternoons. It was necessary to convince the parents because
\ngive the written and signed authorization, and find the cars for
\naccompany these students in their distant suburbs. But the
\nparents, even the most clumsy, understood. some go
\ncome to the shows, we were able to meet them. At the end of the course, with
\nthe BIP finished, we were invited by all the families. we go
\nhave pantagruelic meals from typical cuisines. It was very hard
\nto separate These former students regularly return to LIP a
\nsee his former teachers of plastic Art. They always write to me.\n<\/div>\n
\nstrengthened
\n with this first experience, we decided on the following year
\nrepresent Ubu. We had seen Massimo Schuster's Ubu, made with elements
\nfrom Meccano... The French teacher wanted it no matter what
\nrepresent Ubu. I was happy, I really like Jarry and Ubu is a play
\n fantastic This time we wanted to make very large puppets,
\nhandled by two people. For a week the students go
\nmake the heads of the puppets, after reading the text and
\nhaving studied the characters of each one. Manipulate two this guy
\npuppetry has no secrets but it was necessary to train the manipulators.
\n It is not as simple as it seems as there is a side to this manipulation
\nobvious intimate We work a lot on the body of the other, as auxiliary and
\nnot as an object of sexual desire. This year, we had two boys and sixteen
\ngirls. As in the previous year, we had a large number of different ethnicities, i
\nalso other problems due to the fact that there were two boys and so on
\naside the tendency of a teacher to compare with bright students
\nof the previous year.\n<\/div>\n
\nHe
\n health and social teacher was going to be the link to allow
\ndo the experience in the third year (1986-1987). In other words that is,
\nrepresent Hamlet. Since this year, we had worked with another
\nLIP, located in\u2026N , which had a preparation subject for a
\nthe profession of theater tailor. The mother of our health teacher and
\n social was the titular teacher of this subject. I don't think so
\nthere has been other work of this type in France. Two LIP that
\nwork on a common PAI! The students sometimes met in
\none school, sometimes in another. They argued with each other
\nfor the making of Hamlet's costumes, wishing all to stay
\n perfect They went to buy the fabrics at the San Pedro market. Are going
\ncatch the sewing boxes of mothers or grandmothers to have
\nbeautiful lace, braids, buttons. Nothing was too beautiful for this one
\nHamlet show. Because?\n<\/div>\n
\nThis
\n year, the return to school took place on September 5 and on this day,
\neach student was surprised to receive a book of parts from
\nShakespeare and learn that they would be performing Hamlet with puppets.
\nWhy the choice of Hamlet? The previous year we had taken the class to see it
\n the spectacle of Macbeth by Massimo Schuster. And during the festival of
\nMontreal had seen the Yugoslav show Hamlet (I don't remember having
\nlaughed so much in my life). What is interesting about Hamlet is that there
\n there is a show within the show. The French teacher was
\nimpatient to see how we would get out of this ambitious project. The
\nhalf of the academy was enthusiastic and the other half, skeptical. The
\nstudents were shocked by this choice. They felt valued. Em
\nthey said: "You give us confidence. You'll see, everything will turn out perfect! "\n<\/div>\n
\nVa
\n be very tough! I don't know if I would have the energy to redo this work. But
\n it is true that it was a success. Three classes worked on this one
\nproject: a class of mechanics, of eighteen male students, built
\n the scenography; a class of theater tailors of twelve female students
\n and a boy; a sanitary and social class, twenty-two female students, i
\n three boys<\/p>\n

These three boys were very different. K\u2026, very bright,
\nbut we quickly realized that he couldn't read! At the beginning of
\nCP, he stammered and said he wanted to be Hamlet. The girls go
\nto boo Hard, hard! He was disgusted, then became
\nthe person in charge of the props, and the alderman. He found his place, unique and
\nworthy, which suited him. J..., reserved and quec. He filled the role
\nof ambassador I had to act in a duo with a young girl who was the second
\nambassador We wanted to see them fill those roles a little bit like him
\nDupont-Dupond. They were both so shy and shy. One day, F... said to me: "I resign,
\n I will never be able to do it! Also my grandmother (the West Indies) told me
\n that on the day of my birth an evil genie had cast evil upon me
\nof eye "<\/i> A little confused to hear this, I don't know why
\ninspiration, I blew on him telling him that I was expelling the evil eye.
\nMiracle, that worked! F\u2026 it changed. She became very funny.
\nEnough to have confidence in herself and the three of us
\nambassadors worked well.\n<\/div>\n

\nPer
\n against I made an enemy. A girl had fabricated the head of
\nHamlet, very well done, I must say. I wanted to play the role. wanted to be
\nthe star However, on the day of the general rehearsal, he did not come. without
\nexcuses This had a consequence. The young girl who played the part
\n principal violated the sacred norms of the theater: it was missing
\nvoluntarily on the day of the dress rehearsal. Then I asked one
\nvery discreet young girl, who had a secondary role because of the
\nhis shyness, play the role of Hamlet. He had observed that he knew and
\nwho had sometimes blown the text to the protagonist. It was a success.<\/p>\n

The next day there was a scandal! The star arrived and found out
\n that I gave her role to another. Not supporting replacement
\nhe told me: \u201cThe show will not take place. It is an injustice. My
\ncolleagues will strike."<\/p>\n

He did not achieve his goal! they all go
\nto understand that there was no injustice, and that he had what he had been looking for.
\nThese teenagers were proud to work on such a hard text.
\nThis year, in FR 3, they gave, on Saturday afternoon,
\nbroadcasts of Shakespeare's plays in English, subtitled in
\nfrench Stunned parents watched the children observe these
\nshows. On Monday, they discussed them with each other,
\nthey asked the teachers for explanations. Some made the trip to
\nStratford. They stuck to the theater forever.<\/p>\n

Regarding the puppet,
\n they often have tears in their eyes when they talk or when they remember
\nthe school "see the L...", his former teachers of Plastic Art.
\nIt's been quite a few years since they left school.\n<\/div>\n

\nUs
\n you will say: "All this work to perform it four or five times!"
\n Yes, but HOW MANY TIMES! As Colette Duflot said, we did a job
\n of true pedagogues since we took them to meet another
\nmedium to acquire essential knowledge and above all to
\ngain more confidence in themselves. In 1990 we resumed the
\nwork with twelve students, on surrealism... It was surprising.
\nThey had found a new weapon: the revolver of giving life! But the
\nmy schedule no longer allowed me to be available every Friday, and
\nI took over from Dominica Apertizaci\u00f3n, a trained puppeteer
\nin therapy<\/div>\n
\nMadeleine LYONS.<\/b><\/div>\n
\n<\/div>\n
\nMadeleine
\n Lions is President of the Association Marionnette et Th\u00e9rapie\u201d of
\nFrance, and FIMS (F\u00e9d\u00e9ration Internationale de la Marionnette pour la
\nHealth) <\/div>\n

\n 
\n
<\/span><\/h1>","protected":false},"excerpt":{"rendered":"

I International Day of Education and Puppets 2008 MADELEINE LIONS CONFERENCE\u2026 <\/p>\n

Keep readingMadeleine Lions Conference<\/span><\/a><\/p>","protected":false},"author":3,"featured_media":5194,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[118,171],"_links":{"self":[{"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/posts\/5193"}],"collection":[{"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/comments?post=5193"}],"version-history":[{"count":1,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/posts\/5193\/revisions"}],"predecessor-version":[{"id":5195,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/posts\/5193\/revisions\/5195"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/media\/5194"}],"wp:attachment":[{"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/media?parent=5193"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/categories?post=5193"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/tags?post=5193"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}