{"id":789599,"date":"2026-05-11T21:30:33","date_gmt":"2026-05-11T21:30:33","guid":{"rendered":"https:\/\/www.europesays.com\/us\/789599\/"},"modified":"2026-05-11T21:30:33","modified_gmt":"2026-05-11T21:30:33","slug":"why-las-dance-company-diavolo-architecture-in-motion-has-an-escape-plan-daily-news","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/us\/789599\/","title":{"rendered":"Why LA\u2019s dance company Diavolo: Architecture in Motion has an \u2018Escape\u2019 plan \u2013 Daily News"},"content":{"rendered":"<p>Choreographer Jacques Heim founded <a href=\"https:\/\/www.ocregister.com\/2016\/05\/17\/diavalo-architecture-in-motion-brings-big-wheels-to-irvine\/\" rel=\"nofollow noopener\" target=\"_blank\">Diavolo: Architecture in Motion<\/a> in Los Angeles in 1992, and since then, Heim and the dance company have taken their unique style of dance all around the world.<\/p>\n<p>Their 1995 European debut at the Edinburgh Fringe Festival was a hit of the festival that year. Three years later, <a href=\"https:\/\/www.ocregister.com\/2018\/01\/10\/after-appearing-on-americas-got-talent-diavolo-is-back-with-a-show-in-irvine\/\" rel=\"nofollow noopener\" target=\"_blank\">Diavolo<\/a> opened the new Getty Center\u2019s inaugural performance series.<\/p>\n<p>Between 2007 and 2013, <a href=\"https:\/\/www.ocregister.com\/2007\/09\/05\/esa-pekka-salonen-goes-dancing\/\" rel=\"nofollow noopener\" target=\"_blank\">Diavolo created L\u2019Espace du Temps,<\/a> a trilogy of dance pieces commissioned by the Los Angeles Philharmonic, which it premiered with the orchestra at the Hollywood Bowl to music by Esa-Pekka Salonen, John Adams and Philip Glass.<\/p>\n<ul class=\"mng-gallery-initialized mng-gallery-slider\">\n<li data-index=\"1\" class=\"mng-ge mng-gallery-active\" id=\"mng-ge-0\" aria-hidden=\"false\" tabindex=\"0\"><img loading=\"lazy\" decoding=\"async\" alt=\"In \u201cEscape,\u201d the new show from Jacques Heim\u2019s Diavolo: Architecture...\" class=\"size-article_inline\"   src=\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2026\/05\/LDN-L-DIAVOLO-0510-02.jpg\"\/>\n<p>In \u201cEscape,\u201d the new show from Jacques Heim\u2019s Diavolo: Architecture in Motion,\u201d 22 dancers move through space in interaction with large physical structures. The show runs at Diavolo\u2019s studio L\u2019Espace in downtown Los Angeles through June 14. (Photo by Cheryl Mann)\n<\/p>\n<\/li>\n<li data-index=\"2\" class=\"mng-ge\" id=\"mng-ge-1\" aria-hidden=\"true\" tabindex=\"-1\"><img loading=\"lazy\" decoding=\"async\" alt=\"Jacques Heim, founder and creative director of Diavolo: Architecture in...\" class=\"lazyload size-article_inline\" data- src=\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2026\/05\/LDN-L-DIAVOLO-0510-06.jpg?w=620\"  bad-src=\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2026\/05\/LDN-L-DIAVOLO-0510-06.jpg\"\/>\n<p>Jacques Heim, founder and creative director of Diavolo: Architecture in Motion,\u201d founded the dance company in Los Angeles in 1992. It\u2019s newest program \u201cEscape\u201d runs at the company\u2019s studio L\u2019Espace in downtown Los Angeles through June 14, 2026. (Photo courtesy of Jacques Heim and Diavolo)\n<\/p>\n<\/li>\n<li data-index=\"3\" class=\"mng-ge\" id=\"mng-ge-2\" aria-hidden=\"true\" tabindex=\"-1\"><img loading=\"lazy\" decoding=\"async\" alt=\"In \u201cEscape,\u201d the new show from Jacques Heim\u2019s Diavolo: Architecture...\" class=\"lazyload size-article_inline\" data- src=\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2026\/05\/LDN-L-DIAVOLO-0510-04.jpg?w=620\"  bad-src=\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2026\/05\/LDN-L-DIAVOLO-0510-04.jpg\"\/>\n<p>In \u201cEscape,\u201d the new show from Jacques Heim\u2019s Diavolo: Architecture in Motion,\u201d 22 dancers move through space in interaction with large physical structures. The show runs at Diavolo\u2019s studio L\u2019Espace in downtown Los Angeles through June 14. (Photo by Cheryl Mann)\n<\/p>\n<\/li>\n<li data-index=\"4\" class=\"mng-ge\" id=\"mng-ge-3\" aria-hidden=\"true\" tabindex=\"-1\"><img loading=\"lazy\" decoding=\"async\" alt=\"In \u201cEscape,\u201d the new show from Jacques Heim\u2019s Diavolo: Architecture...\" class=\"lazyload size-article_inline\" data- src=\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2026\/05\/LDN-L-DIAVOLO-0510-01.jpg?w=620\"  bad-src=\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2026\/05\/LDN-L-DIAVOLO-0510-01.jpg\"\/>\n<p>In \u201cEscape,\u201d the new show from Jacques Heim\u2019s Diavolo: Architecture in Motion,\u201d 22 dancers move through space in interaction with large physical structures. The show runs at Diavolo\u2019s studio L\u2019Espace in downtown Los Angeles through June 14. (Photo by Cheryl Mann)\n<\/p>\n<\/li>\n<li data-index=\"5\" class=\"mng-ge\" id=\"mng-ge-4\" aria-hidden=\"true\" tabindex=\"-1\"><img loading=\"lazy\" decoding=\"async\" alt=\"In \u201cEscape,\u201d the new show from Jacques Heim\u2019s Diavolo: Architecture...\" class=\"lazyload size-article_inline\" data- src=\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2026\/05\/LDN-L-DIAVOLO-0510-03.jpg?w=620\"  bad-src=\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2026\/05\/LDN-L-DIAVOLO-0510-03.jpg\"\/>\n<p>In \u201cEscape,\u201d the new show from Jacques Heim\u2019s Diavolo: Architecture in Motion,\u201d 22 dancers move through space in interaction with large physical structures. The show runs at Diavolo\u2019s studio L\u2019Espace in downtown Los Angeles through June 14. (Photo by Cheryl Mann)\n<\/p>\n<\/li>\n<li data-index=\"6\" class=\"mng-ge\" id=\"mng-ge-5\" aria-hidden=\"true\" tabindex=\"-1\"><img loading=\"lazy\" decoding=\"async\" alt=\"In \u201cEscape,\u201d the new show from Jacques Heim\u2019s Diavolo: Architecture...\" class=\"lazyload size-article_inline\" data- src=\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2026\/05\/LDN-L-DIAVOLO-0510-05-1.jpg?w=620\"  bad-src=\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2026\/05\/LDN-L-DIAVOLO-0510-05-1.jpg\"\/>\n<p>In \u201cEscape,\u201d the new show from Jacques Heim\u2019s Diavolo: Architecture in Motion,\u201d 22 dancers move through space in interaction with large physical structures. The show runs at Diavolo\u2019s studio L\u2019Espace in downtown Los Angeles through June 14. (Photo by Cheryl Mann)\n<\/p>\n<\/li>\n<\/ul>\n<p>Show Caption<\/p>\n<p>1 of 6<\/p>\n<p>In \u201cEscape,\u201d the new show from Jacques Heim\u2019s Diavolo: Architecture in Motion,\u201d 22 dancers move through space in interaction with large physical structures. The show runs at Diavolo\u2019s studio L\u2019Espace in downtown Los Angeles through June 14. (Photo by Cheryl Mann)\n<\/p>\n<p><a href=\"#\" class=\"icon-enlarge mng-gallery-fullscreen-expand\" aria-label=\"Expand fullscreen slideshow\">Expand<\/a><\/p>\n<p>In 2017, the company <a href=\"https:\/\/www.ocregister.com\/2017\/09\/19\/los-angeles-based-diavolo-dance-company-to-defy-gravity-again-on-americas-got-talent-finale\/\" rel=\"nofollow noopener\" target=\"_blank\">danced its way to the Top 10 and finale of \u201cAmerica\u2019s Got Talent,\u201d<\/a> dazzling judges and viewers alike with Diavolo\u2019s intensely physical acrobatic dance pieces that incorporated\u00a0large architectural elements on stage.<\/p>\n<p>In 2024, Heim choreographed <a href=\"https:\/\/www.ocregister.com\/2024\/02\/04\/grammys-2024-dua-lipa-kicks-off-the-grammys-with-training-season-and-houdini\/\" rel=\"nofollow noopener\" target=\"_blank\">Dua Lipa\u2019s broadcast-opening Grammy appearance<\/a>\u00a0in which Diavolo dancers performed with her.<\/p>\n<p>At one point, the city of Los Angeles recognized Diavolo as a cultural treasure, and you might think the public knew them as such as well.<\/p>\n<p>That\u2019s not the case, Heim says, which is part of why he and the company created Diavolo\u2019s current show \u201cEscape.\u201d<\/p>\n<p>\u201cYou have to imagine that from 1999 to 2019, Diavolo was touring all over the United States and all over the world,\u201d Heim says on a recent phone call. \u201cSuddenly, the pandemic comes; everything shut down. Things change completely. The world is changing, the market is changing.\u201d<\/p>\n<p>For Diavolo, touring was always a pricey proposition due to the size and complexity of the stage pieces with which it traveled.<\/p>\n<p>\u201cDiavolo is not the dance company that you have six or eight dancers, and they just travel with a suitcase,\u201d Heim says. \u201cWe travel with an 18-wheeler truck. When we go into a theater, we need two days or three days tech. So it\u2019s a very expensive company.\u201d<\/p>\n<p>Sometimes in life, you have to reinvent yourself, Heim realized. And so he tore up the old playbook and created a new one. Instead of touring from city to city around countries and continents, Diavolo was going to settle into its downtown Los Angeles studio and invite the audiences to come to them.<\/p>\n<p>Whether they\u2019d come, though, remained an open question.<\/p>\n<p>\u201cUsually when you\u2019re a company in a city, you have your own home season,\u201d Heim says. \u201cWe never had a\u00a0home season, so actually most people in Los Angeles have no idea who we are.<\/p>\n<p>\u201cSo that was in my mind, my mind of reinvention.\u201d<\/p>\n<p>\u201cEscape\u201d premiered at L\u2019Espace, the company\u2019s studio-turned-black box theater, in October. It proved so successful in its initial run that it returned for a second run that continues until June 14.<\/p>\n<p>In the future, \u201cEscape\u201d will likely return to Southern California, though possibly in a venue that can hold 200 instead of the 95 the studio provides, Heim says. It may also travel to other cities for residencies.<\/p>\n<p>\u201cIt became this thing where people loved it in a way that I actually never experienced in all my years of touring with Diavolo,\u201d Heim says. \u201cSo what does that mean?<\/p>\n<p>\u201cThe people who did not know Diavolo at all in Los Angeles thought that Diavolo was a dance company that we just started,\u201d he says. \u201cThey thought, \u2018I never saw this kind of work. I can\u2019t even describe it. It\u2019s like circus, but it\u2019s not circus, it\u2019s not pure dance, it\u2019s not theater. It\u2019s like this fusion of all.\u2019<\/p>\n<p>\u201cAnd the people who knew about Diavolo all those years, who were coming and saying, \u201cI saw you at Barnsdall Gallery Theatre in Los Angeles in 1995, I saw you in 1998 at the Highways Performance Space,\u2019 they\u2019re saying this is the best thing that Diavolo has done.<\/p>\n<p>\u201cSo suddenly it\u2019s like this thing, this beautiful thing, that people see, and it feels like fresh new work that hasn\u2019t been done or been seen.\u201d<\/p>\n<p>Dancing about architecture<\/p>\n<p>In \u201cEscape,\u201d 22 dancers move through space in conversation with the structures \u2013 the architecture \u2013 that define each piece.<\/p>\n<p>In one, they climb aboard an abstract ship that rocks more and more violently until dancers are tossed high in the air to the arms of those waiting below.<\/p>\n<p>Another employs a surreal cutaway replica of the Moon, which glides on casters around the theater as dancers clamber on and off and through its crater-pocked surface.<\/p>\n<p>A third looks like a small Ferris wheel without the carriages. Dancers wheel it around the floor, some hanging from the spokes, others leaping from it as it turns.<\/p>\n<p>For Heim, this fascination with bodies moving on physical structures goes back to his boyhood in Paris when he was 11 years old.<\/p>\n<p>\u201cI was a rebel even in my early age,\u201d he says. \u201cLet me tell you, I got kicked out of six different schools in Paris because I was a rebel, I was a punk. So I skipped school, and I started kind of vagabonding in the streets of Paris and really connecting with the architecture of Paris.<\/p>\n<p>\u201cSometimes I was climbing on top of walls, and I had a connection with that, and it made me free,\u201d Heim says. \u201cThen I started a street theater with my friends, and we performed in the street on top of cars, in some buildings. We got arrested by the police, but in that time it was OK, it was a different world.<\/p>\n<p>\u201cSo the essence of relation with your environment in your city was always there.\u201d<\/p>\n<p>Eventually, his family told him if he couldn\u2019t or wouldn\u2019t stay in school in France, maybe he should go to America. Heim enrolled at Middlebury College in Vermont, planning to study acting until he says he realized his English needed work.<\/p>\n<p>\u201cLuckily, I had some friends in the dance department who told me, \u2018Jacques, why don\u2019t you come and take some dance classes? At least you don\u2019t have to speak,\u2019\u201d he says. \u201cI said, \u2018That sounds great.\u2019<\/p>\n<p>\u201cI fell in love with this beautiful universal language called movement,\u201d Heim says. \u201cThen I remembered my connection with the environment when I was asked to create a solo or a piece.\u201d<\/p>\n<p>The bare stage left him cold, so he brought a chair, a table, and a wall he asked the theater department to build on stage for his dances.<\/p>\n<p>\u201cSuddenly I was connected and creating a relation between me and my environment,\u201d Heim says. \u201cNot utilizing the environment as a prop but as an extension of myself, as another performer on stage.<\/p>\n<p>\u201cSo now I\u2019m interested in the relation and interaction between the human and that architectural environment, and how it is affecting us in so many different ways, emotional, mental, physical,\u201d he says of the work he\u2019s created throughout his career.<\/p>\n<p>Even today, a bare stage offers little inspiration.<\/p>\n<p>\u201cIf someone asks me, \u2018OK, Jacques, choreograph with 20 dancers on the bare stage,\u2019 I would go, \u2018OK, well, maybe I\u2019m not the best choreographer for that, but I\u2019ll give you some names,\u2019\u201d he says.<\/p>\n<p>Seeing movement<\/p>\n<p>Heim\u2019s choreography is physically demanding, even dangerous, during some of the more daring stunts it includes. Yet Heim has little experience as a dancer himself.<\/p>\n<p>\u201cI was never a dancer, I was never a gymnast, I was never an acrobat,\u201d he says. \u201cI\u2019m the most unflexible and dyslexic creative director of a dance company you\u2019ll ever meet.<\/p>\n<p>\u201cI still cannot touch my toes. I don\u2019t have the body of a dancer. I still eat every day croissant and baguette. I have a little belly. I have skinny legs like the Eiffel Tower.<\/p>\n<p>\u201cPeople sometimes in the studio look at me, going, \u2018Jacques, what are you doing? How come you end up in this world?\u2019 But the crazy thing is, I see movement before movement is created.\u201d<\/p>\n<p>Put a human next to an architectural structure, he says. A chair, a table, a gigantic abstract structure or house.<\/p>\n<p>\u201cI see relation,\u201d Heim says. \u201cI see emotion. I see movement. I see the way the piece can start and how the piece can end. I don\u2019t know why but I see that.\u201d<\/p>\n<p>More than choreographers, his inspirations tend to be architects, Heim says, ticking off such names as Santiago Calatrava, Tadao Ando, Jean Nouvel, and Renzo Piano.<\/p>\n<p>\u201cWhen I walk the streets in any city that I travel to and I end up seeing beautiful architectural structures, I see a story,\u201d he says. \u201cI see movement. I see emotion. I see motion. And that inspires me to create.\u201d<\/p>\n<p>As creative director of Diavolo, Heim is a tough taskmaster with his dancers. \u201cHere is what they will tell you,\u201d he says, and then launches into a description of his methods that holds back nothing of how tough he can be.<\/p>\n<p>\u201cThey will tell you the first couple of weeks, \u2018I hate that guy,\u2019\u201d Heim says. \u201c\u2018I want to kill him. I can\u2019t stand him. I want to get to [bleep] out of L\u2019Espace, the studio.\u2019 Because I operated like a drill sergeant and like your football coach.<\/p>\n<p>\u201cAnd yes, I yell at them,\u201d he says. I put them down. I rebuild them. I push them. I put them into a washing machine for many spins. They look at me like I\u2019m the craziest human being ever.<\/p>\n<p>\u201cBut I do it with care and love and knowing what is at the end of the result.\u201d<\/p>\n<p>When one of his current dancers, a woman nicknamed Sanchez, was new in the company, she struggled, Heim says. She was shy, hesitant in her physicality, not fighting for space in the group.<\/p>\n<p>\u201cI brought her into the office, and I said, \u2018I am about to fire you,\u2019\u201d Heim says. \u201c\u2018I can see the potential in you, but you are abandoning yourself. You put yourself down. You won\u2019t attack with the incredible movement that you can do because I can see the potential.\u2019 Then I gave her a mandate.<\/p>\n<p>\u201cI said, \u2018OK, Sanchez, during the rest of the process, when I give you a note I want you to insult me back,\u2019\u201d he says. \u201cShe goes, \u2018What do you mean?\u2019 I want you to answer me back: \u2018Jacques, listen to me, you little piece of \u2013 \u2018\u201d<\/p>\n<p>What follows is a hilariously profane French-accented piece of dialogue, which, as you might imagine, Sanchez the dancer initially protested she could not say to the man who employed her.<\/p>\n<p>\u201cThe reason I said that was because I was trying to find a psychological way where she became a rock star,\u201d Heim says. \u201cSuddenly, she sees herself wearing a leather jacket, a tattoo, and she is a badass.\u201d<\/p>\n<p>Sanchez remains in the company today and is one of the 22 dancers in \u201cEscape.\u201d<\/p>\n<p>Veterans and civilians<\/p>\n<p>Ten years ago, when Diavolo decided to add dance workshops for military veterans to its educational programming, Heim himself got a taste of what it felt like to be intimidated in the dance studio.<\/p>\n<p>\u201cWorking with the military, I don\u2019t even know what to do,\u201d he says, laughing. \u201cThey\u2019re going to kick my ass. I was kind of scared, you know, who they were.\u201d<\/p>\n<p>So Heim more or less went AWOL for the first few days of what has become Diavolo\u2019s dance workshops for veterans.<\/p>\n<p>\u201cMr. Jacques Heim here got super shy and was hiding in his house going, \u2018No, it\u2019s OK, guys, you can do it. Just let me know how it goes,\u2019\u201d he says about the debut workshop in 2016.<\/p>\n<p>Two days after it started, Diavolo\u2019s education director called and told him it wasn\u2019t going well and they needed his help.<\/p>\n<p>\u201cI go, \u2018[Bleep], why?\u2019\u201d he says. \u201cShe said, \u2018Jacques, because you need to do what you do.\u2019\u201d<\/p>\n<p>The drive from his Encino home to downtown Los Angeles included F-bombs and flop sweat, he says.<\/p>\n<p>\u201cI\u2019m talking to myself like I always do, and I say, \u2018I don\u2019t know what to do, I don\u2019t know what to do,\u2019\u201d Heim says. \u201cAnd then I say, \u2018Jacques, shut the [bleep] up.\u2019 Just do what you\u2019ve been doing for all those years with your dancers.\u201d<\/p>\n<p>In the studio, a square platform sat in the middle of the floor. Sockets in surface fit the lightweight poles each veteran carried.<\/p>\n<p>\u201cThe pole represents your flag, represents your territory, represents a weapon, represents a tool that you can elevate others,\u201d he says. \u201cAnd I start to do my thing. I\u2019ve become the drill sergeant.<\/p>\n<p>\u201cI look at them, and I say, \u201cI don\u2019t give a [bleep] about your pain that you felt or you feel,\u2019\u201d he recalls. \u201cI don\u2019t give a [bleep] if you cannot find a job or you can\u2019t find a role in this society. We are going to create a battalion and a community together, and you\u2019re never gonna abandon yourself.<\/p>\n<p>\u201cWe\u2019re going to build something today together, and we\u2019re going to rise together. We\u2019re going to cry together. We\u2019re going to bleed together and bruise together. We\u2019re going to find a way to rise because that is what we need to do as human beings.<\/p>\n<p>\u201cSilence in the room,\u201d Heim says. \u201cMy dancers look at me like I\u2019m freaking crazy. And they look at me, all of them, the military, and go, \u2018Let\u2019s start.\u2019\u201d<\/p>\n<p>Heim and his dancers handled the choreography for the men and women who came from every branch of the service. Diavolo dramaturge France Nguyen Vincent helped them share their raw and emotional stories, and then crafted them into the soundtrack for their public performance.<\/p>\n<p>And in the decade since then, hundreds more veterans in Southern California and around the nation have participated in similar programs, with more than 20,000 people attending the powerful performances the workshops create.<\/p>\n<p>In doing the veterans programs, Heim says he came to realize several things about his life\u2019s work. How the large architectural structures he uses recreate the sense of danger he felt as a boy walking on walls in Paris. How a sense of danger can forge a familial bond, a community, a battalion.<\/p>\n<p>And most of all, how dance can challenge anyone to find their limit and surpass it.<\/p>\n<p>\u201cWhat I never realized, this is what I was doing for the last 34 years,\u201d Heim says of the connection he found between the veterans workshops and his professional company. \u201cI realized that I\u2019ve been doing with my civilians, my dancers, what I\u2019ve done with my veterans.<\/p>\n<p>\u201cI push them so they can discover what they\u2019re made of and they can rise,\u201d he says. \u201cBecause at the end of the game, who is the military veteran?<\/p>\n<p>\u201cJust another incredible human being like you and I. That\u2019s it. That\u2019s the connection. That is connecting the dots.\u201d<\/p>\n<p>Diavolo\u2019s \u2018Escape\u2019<\/p>\n<p><strong>When:<\/strong> 8 p.m. Fridays and Saturdays, 6 p.m. Sundays through June 14<\/p>\n<p><strong>Where:<\/strong> L\u2019Espace Diovolo, 616 Moulton Ave., Los Angeles<\/p>\n<p><strong>How much:<\/strong> $41.65 to $83.04<\/p>\n<p><strong>For more:<\/strong> See Diavolo.org\/escape for tickets and information<\/p>\n","protected":false},"excerpt":{"rendered":"Choreographer Jacques Heim founded Diavolo: Architecture in Motion in Los Angeles in 1992, and since then, Heim and&hellip;\n","protected":false},"author":3,"featured_media":789600,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5123],"tags":[1582,276,10929,2961,224,5337,1148,1072],"class_list":{"0":"post-789599","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-los-angeles","8":"tag-ca","9":"tag-california","10":"tag-dance","11":"tag-la","12":"tag-los-angeles","13":"tag-losangeles","14":"tag-theater","15":"tag-things-to-do"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@us\/116558078477184735","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/789599","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/comments?post=789599"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/789599\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media\/789600"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media?parent=789599"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/categories?post=789599"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/tags?post=789599"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}