{"id":6881,"date":"2023-01-14T00:00:37","date_gmt":"2023-01-13T18:30:37","guid":{"rendered":"https:\/\/learningandcreativity.com\/silhouette\/?p=6881"},"modified":"2023-01-14T09:45:47","modified_gmt":"2023-01-14T04:15:47","slug":"kaifi-azmi-a-poet-for-the-ages","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/kaifi-azmi-a-poet-for-the-ages\/","title":{"rendered":"Kaifi Azmi: A Poet for the Ages"},"content":{"rendered":"
\"

A young Kaifi Azmi<\/p><\/div>\n

When I listen to Hindi film songs, while the melody draws me in, it is the words that keep me engrossed. Words have magic, they transport me to different worlds, express the emotions I feel but cannot say. And, amidst all the poet-lyricists of the Golden Age of Hindi film music, Sahir, Shailendra and Majrooh have my heart. But as I began paying attention to who wrote what, I added Kaifi to the pantheon of lyricists whose penmanship gladdens my listening hours.<\/p>\n

Born Athar Husain Rizvi in Mijwan (Azamgarh, Eastern Uttar Pradesh), Kaifi Azmi was destined to be a maulvi. <\/em>At least, his parents must have hoped so when they sent the young lad to the Sultan-ul-Madaaris, a seminary in Lucknow. Little did they know that their son\u2019s rebellious streak would cause him to lead a strike for students\u2019 rights there.<\/p>\n

He had always shown an inclination for poetry, famously writing his first ghazal<\/em>, \u201cItni to zindagi mein kisi ke khalal pade\u201d <\/em>when he was barely 11 years old. At the seminary, he continued to write; his poems \u2013 like all fledgling poets \u2013 speaking of love and heartbreak with all their associated imagery. But soon, he got his hands on a controversial new book titled Angaare \u2013<\/em> a collection of nine short stories and a play by contemporary authors like Sajjad Zaheer, Mahmood-uz-Zafar, Rashid Jahan and Ahmed Ali. The stories within questioned not only prevailing religious dogma, social equality, political institutions and women empowerment, it also criticized imperial rule in India. As such, it became the target of both the religious leadership and<\/em> the British government. Angaare <\/em>was banned, and all but five copies were burnt.<\/p>\n

\"Kaifi

Kaifi and Shaukat (Pic courtesy: azmikaifi.com)<\/p><\/div>\n

However, its influence continued to be felt, since the ban directly led to the formation of the Progressive Writers\u2019 Association. Kaifi\u2019s poetry too began to reflect a socially conscious tone that championed the cause of the poor. He began to contribute to Naya Adab,<\/em> a progressive literary magazine edited by Ali Sardar Jafri. By 1942, the young poet had quit the seminary and become a card-carrying member of the Communist Party.<\/p>\n

Kaifi Azmi came to Bombay in 1943 after a brief stint in Kanpur. He began writing for the Communist Party\u2019s Urdu journals, Quami Jung<\/em> and Mazdoor Mohalla. <\/em>\u00a0His first poetry anthology, Jhankar<\/em>, was also published the same year.<\/p>\n

In 1947, he married Shaukat Khanam, whom he had met at a mushaira<\/em> in Hyderabad. Almost immediately after, Kaifi Azmi had to go into hiding – the Communist Party was banned, and the Party Office shut down. Shaukat remained with her parents. When she joined him in Bombay, the couple initially lived in a commune. It was then that Izmat Chugtai, a friend from the Progressive Writers\u2019 Association, offered him a chance to write the lyrics for Buzdil<\/em> (1952). Soon, Kaifi Azmi had turned to films to eke out a supplementary income.<\/p>\n

\"asha<\/a>

Asha Bhosle, SD Burman and Kaifi Azmi at the recording of Tujhe mili roshni<\/em> in Apna Haath Jagannath<\/em> (1960)<\/p><\/div>\n

His initial foray into films wasn\u2019t very successful. While the songs were popular, the films flopped. But chance brought him in touch with Guru Dutt, who was looking for a new lyricist after Sahir Ludhianvi and SD Burman had a falling out. The songs of Kagaz ke Phool<\/em> have withstood the test of time and are today considered classics, but at the time of release, the film was a disaster. When his next few films followed the same trajectory, Kaifi Azmi was considered \u2018unlucky\u2019 by a superstitious industry.<\/p>\n

Until Chetan Anand offered him Haqeeqat,<\/em> considered one of the finest war films to be made in India. Collaborating with Madan Mohan, whose soulful music complemented Kaifi\u2019s evocative lyrics, the songs touched a nation\u2019s consciousness. Critical acclaim was accompanied by commercial success!<\/p>\n

Kaifi\u2019s lyrical output is comparatively lesser than his peers, but his penmanship is no less. His poetry is laced with rich imagery, and his lyrics traversed the gamut from sensitive romanticism to pathos or cynicism with equal ease.<\/p>\n

\"Waqt

Waqt ne kiya<\/em><\/p><\/div>\n

1. Waqt ne kiya kya haseen sitam<\/em><\/strong>
\nKagaz ke Phool<\/em><\/strong> (1959)<\/strong>
\nSinger: Geeta Dutt<\/strong>
\nMusic: SD Burman<\/strong><\/p>\n

Coming at the beginning of Shanti\u2019s (Waheeda Rehman) and Suresh\u2019s (Guru Dutt) association, Waqt ne kiya kya haseen sitam<\/em> is a wistful song of \u2018If only\u2026\u2019\u00a0 When Suresh comes into an empty studio, he\u2019s startled by an unexpected sound. He turns around to see Shanti sitting in a corner, knitting. He\u2019s amused. Why is she here so early? She smiles. Why is he?<\/em> He always comes in early, he quips. She nods, smiling again. She knows. What? Everything. He moves away, disquieted. She follows. Two lonely souls, attracted to each other. And they both know it. But he’s married. She knows that as well. If only\u2026<\/p>\n

Kaifi\u2019s words capture the futility of it all.<\/p>\n

Jaayenge kahaan, soojhta nahin<\/em>
\nChal pade magar raasta nahin<\/em>
\nKya talaash hain kuch pata nahin<\/em>
\nBun rahe hain dil, khwaab dam-ba-dam<\/em><\/p>\n

A shaft of sunlight peeks through the ventilators and intermittently light them up as they walk to and fro.<\/p>\n

Waqt ne kiya <\/em>is one of the best picturized songs in Hindi cinema, thanks to ace cinematographer VK Murthy. In an interview with Rediff.com in 2004, Murthy reminisced: \u201cWe brought two huge mirrors and kept one outside the studio in the sun, that reflected the light onto another mirror, kept on the catwalk, and opened the balcony door to the studio. Light reflected from one to the other and the beam was created. We added some smoke to it, and that scene became a phenomenal craze in the history of cinematography!\u201d<\/em><\/p>\n

\"Main

Main ye sochkar us ke dar se utha tha<\/em><\/p><\/div>\n

2. Main ye sochkar us ke dar se utha tha<\/em><\/strong>
\nHaqeeqat <\/em><\/strong>(1964)<\/strong>
\nSinger: Mohammed Rafi<\/strong>
\nMusic: Madan Mohan<\/strong><\/p>\n

Haqeeqat <\/em>was a triumph of film-making \u2013 it is still considered the most realistic war film made in India. It also boasted a terrific score, each song (including the deleted Zara si aahat<\/em>) a gem \u2013 lyrics, melody, arrangement, singing, picturisation were all so in tune that we were spoiled for choice. Kar chale hum fida <\/em>is possibly one of the finest patriotic songs ever written, but this one, sung by a soldier on the front, is filled with regret and grief.<\/p>\n

He (Sudhir) had left home after a lover\u2019s tiff with his wife. He had assumed that she would run after him and coax him to return, but she hadn\u2019t. Her reluctance to be the one to give in and his stubbornness in not returning until she did has led to a longer separation than either of them had dreamed of.\u00a0 And now, it\u2019s possibly too late \u2013 he had been sent to the front, and who knows, he might never return.<\/p>\n

Magar us ne roka na us ne manaaya<\/em>
\nNa daaman hi pakdaa na mujhko bithaaya<\/em>
\nNa awaaz hi dii na waapas bulaaya<\/em>
\nMain aahista arista badhta hii aaya<\/em>
\nYahaan tak ke us se judaa ho gaya main\u2026<\/em><\/p>\n

Kaifi\u2019s poem \u2018Pashemani\u2019<\/em> became the anthem of regret.<\/p>\n

\"Ye

Ye rut jawan jawan<\/em><\/p><\/div>\n

3. Ye rut jawan jawan<\/em><\/strong>
\nAakhri Khat<\/em><\/strong> (1966)<\/strong>
\nSinger: Bhupinder <\/strong>
\nMusic: Khayyam<\/strong><\/p>\n

Shot in a nightclub, Ye rut jawan jawan <\/em>is a sensuous song with music that catches you by the ear and leads you into it. In this very peppy club song, you have two musicians on screen \u2013 Bhupinder, singing his very first solo (he had earlier sung a verse in Hoke majboor chala <\/em>from Haqeeqat<\/em>) and<\/em> playing a guitar; and the legendary Chic Chocolate on the trumpet. (Both of them, incidentally, are actually playing the instruments they are shown to be \u2018playing\u2019 on screen.)<\/p>\n

Chetan Anand, known for his realistically shot films, shoots Bhupinder in the foreground while showing people at the tables, and then, when the shot focuses on the conversation between Inspector Naik (Manavendra Chitnis) and Ladjo (Naqi Jehan), the music recedes into the background.<\/p>\n

Kaifi\u2019s lyrics complemented the scene, adding a little nugget of advice seemingly directed at the character on screen.<\/p>\n

Gham khushi khushi chupaa liya<\/em>
\nDard ko bhi dil bana liya<\/em>
\nZindagi ne aazmaa liya <\/em>
\nTum to na lo imtehaan<\/em><\/p>\n

Aakhri Khat<\/em> is famous for introducing us to the phenomenon that was Rajesh Khanna. Strangely, though, the \u2018hero\u2019 of the film was a one-and-a-half-year-old toddler. And Khayyam\u2019s music. Each and every song was a gem.<\/p>\n

\"Ya

Ya dil ki suno duniyawaalon<\/em><\/p><\/div>\n

4. Ya dil ki suno duniyawaalon<\/em><\/strong>
\nAnupama<\/em><\/strong> (1966)<\/strong>
\nSinger: Hemant Kumar<\/strong>
\nMusic: Hemant Kumar<\/strong><\/p>\n

Anupama<\/em> is the poetically tragic tale of Uma (Sharmila Tagore), a girl unloved by her father unless he\u2019s drunk. The emotionally stunted young woman is so terrified of the world at large that she remains largely voiceless. (Quite literally \u2013 Uma has barely ten lines of dialogue in the whole film.) When Ashok (Dharmendra) falls in love with her, he\u2019s compassionate enough not to impose his will on her, no matter what Anne (Shashikala) says. If Uma loves him, he says, she will muster the courage to come to him. But in the meantime, he\u2019s willing to take up cudgels on her behalf against an unfeeling world that treats her with pity, if not outright derision.<\/p>\n

Kaifi\u2019s pen drips with sorrow and that feeling of betrayal \u2013 on her <\/em>behalf.<\/p>\n

Ye phool chaman mein kaise khila<\/em>
\nMaali ki nazar mein pyaar nahin<\/em>
\nHanste hue kya kya dekh liya<\/em>
\nAb bahte hain aansoo bahne do<\/em>
\nYa dil ki suno duniyawaalon<\/em>
\nYa mujhko ab chup rahne do<\/em><\/p>\n

Sublime!<\/p>\n

\"Naushad,

Naushad, Ali Sardar Jaffry and Majrooh with Kaifi Azmi (sitting)<\/p><\/div>\n

5. Har taraf ab yahi afsaane hain<\/em><\/strong>
\nHindustan ki Kasam<\/em><\/strong> (1974)<\/strong>
\nSinger: Manna Dey<\/strong>
\nMusic: Madan Mohan<\/strong><\/p>\n

When Squadron Leader Rajeev Shukla (Raj Kumar) meets Mohini Batra (Priya Rajvansh) at a party, it is love at first sight for both of them. Unfortunately, before he can do more than tell her of his love, a pre-emptive air strike by the enemy ensures that he\u2019s sent to the front. War heats up, sorties continue and the Indian Air Force men are sent on mission after mission. Amidst the heat of battle, Squadron Leader Shukla can only think of love. It comforts him amidst the horrors of war.<\/p>\n

Ek halka sa ishaara in ka<\/em>
\nKabhi dil aur kabhi jaan lootega<\/em>
\nKis tarah pyaas bujhegi us ki<\/em>
\nKis tarah us ka nasha tootega<\/em>
\nJis ki qismat mein ye paimaane hain<\/em>
\nHum teri aankhon ke deewaane hain<\/em><\/p>\n

Based on Operation Cactus Lily, Hindustan ki Kasam<\/em> focused on the role of the Indian Air Force in the Indo-Pak war of 1971. Indian war veterans flew real IAF planes like Gnats and Hunters, MiG21s and Su-7s.<\/p>\n

\"\"

Ye nayan dare dare<\/em><\/p><\/div>\n

6. Ye nayan dare dare<\/em><\/strong>
\nKohra<\/em><\/strong> (1964)<\/strong>
\nSinger: Hemant Kumar<\/strong>
\nMusic: Hemant Kumar<\/strong><\/p>\n

Having married a man she had only known for a few days, Rajeshwari (Waheeda Rehman) is puzzled and grieved when her new husband (Biswajeet) is passionate and loving one minute and cold and indifferent the next. What\u2019s more, the chatelaine of the haveli<\/em> seems to be Dai ma (Lalita Pawar), who\u2019s forever telling Raj how lovely, how loving, how perfect,<\/em> her husband\u2019s first wife was. Besides, there are strange happenings and stranger people around. It\u2019s no wonder then that Raj turns into a wreck, fearful of her own shadow. This song is sung by the husband during one of the few times he remembers that he\u2019s in love with his new wife. Or at least, he notices her frightened eyes and tries to reassure her. Kaifi Azmi was more successful with his lyrics than Biswajeet\u2019s character in the film. And so we get this hauntingly beautiful melody (composed and sung by Hemantda<\/em>).<\/p>\n

Pyaar mein hai jeevan ki khushi<\/em>
\nDeti hain khushi kayi gham bhi<\/em>
\nMain maan bhi luun kabhi haar<\/em>
\nTu maane na\u2026<\/em>
\nYe nayan dare dare<\/em>
\nYe jaam bhare bhare<\/em>
\nZara peene do\u2026<\/em>
\nKal ki kis ko khabar<\/em>
\nIk raat ho ke nidar<\/em>
\nMujhe jeene do\u2026 <\/em><\/p>\n

His gentleness towards her, the love in his eyes and in his voice, the words he\u2019s almost whispering chase her fright away. An impish smile lights up her eyes as she looks shyly at him. It\u2019s a wholly satisfying song!<\/p>\n

\u00a0<\/em><\/strong><\/p>\n

\"Meena

Meena Kumari in Pakeezah<\/em><\/p><\/div>\n

7. Chalte chalte yunhi koyi<\/em><\/strong>
\nPakeezah<\/em><\/strong> (1972)<\/strong>
\nSinger: Lata Mangeshkar<\/strong>
\nMusic: Ghulam Mohammed<\/strong><\/p>\n

There are some songs where the lyrics, the melody and the singer all come together to make it better than just the sum of its parts. Chalte chalte yunhi koyi <\/em>is one of them. This was the only song written by Kaifi in the film.<\/p>\n

When Sahibjaan (Meena Kumari) is taken away by her aunt (Veena), a young man on the train who sees only her feet leaves her a note praising their beauty. Don\u2019t let them be sullied, he pleads. But the note is unsigned, and she has no idea who her unknown admirer is. But his words \u2013 and he \u2013 capture her heart. And she can\u2019t stop thinking of him, even though she may never meet him. Now, as she\u2019s forced to sing for other men, it\u2019s of him she sings\u2026<\/p>\n

Chalte chalte yunhi koi\/mil gaya tha<\/em>
\nYunhi koi mil gaya tha sar-e-raah chalte chalte<\/em><\/p>\n

It\u2019s a very introspective beginning; she confesses that her night halted there. Now, her night of waiting is coming to an end, and her desperation is evident as she wonders whether she will ever meet him? Because, when the lamps die out, so will she.<\/p>\n

Shab-e-intezaar aakhir kabhi hogi muqtasar bhi<\/em>
\nYe chiraagh bujh rahe hain mere saath jalte jalte<\/em><\/p>\n

(This night of waiting will soon be curtailed<\/em>
\nThese lamps will die out, burning along with me<\/em>)<\/p>\n

Her yearning is evident in Kaifi\u2019s eloquence. And the increasingly desperate repetition of Ye chiraagh bujh rahe hain <\/em>culminates in the leitmotif of the film \u2013 the whistle of a train.<\/p>\n

\"Ye

Ye duniya ye mehfil <\/em><\/p><\/div>\n

8. \u00a0<\/strong> Ye duniya ye mehfil<\/em><\/strong> (1970)<\/strong>
\nHeer Ranjha<\/em><\/strong>
\nSinger: Mohammed Rafi<\/strong>
\nMusic: Madan Mohan<\/strong><\/p>\n

Where love blossoms, heartbreak follows. And Kaifi dips his pen into the deep wells of sadness and pathos to pen:<\/p>\n

Kis ko sunaaoon haal dil-e-beqaraar ka<\/em>
\nBujhta hua chiraag hoon apne mazaar ka<\/em>
\nAe kaash bhool jaaoon, magar bhoolta nahin<\/em>
\nKis dhoom se utha tha janaaza bahaar ka<\/em><\/p>\n

\u00a0<\/em>Apna pata mile na khabar yaar ki mile<\/em>
\nDushman ko bhi na aisi sazaa pyaar ki mile<\/em>
\nUnko khuda mile, hai khuda ki jinhein talaash<\/em>
\nMujh ko bas ik jhalak mere dildaar ki mile\u2026<\/em><\/p>\n

\u00a0<\/em>Gooseflesh!<\/p>\n

Heer Ranjha <\/em>was famous for being fully in verse. The closest in spirit to Waris Shah\u2019s epic poem, Heer,<\/em> the dialogues in verse were also written by Kaifi Azmi.<\/p>\n

\"Kaifi,<\/a>

Kaifi, Pt Amarnath and Ustad Amir Khan at the recording for Garm Hawa<\/em> (Pic courtesy: Twitter)<\/p><\/div>\n

9. Apne watan mein aaj <\/em><\/strong>
\nDo Boond Pani<\/em><\/strong> (1971)<\/strong>
\nSingers: Noor Jehan, Mukesh<\/strong>
\nMusic: Jaidev<\/strong><\/p>\n

Kaifi returns to his socialist roots when he voices the feelings of villagers who are forced to leave their homes due to drought. There\u2019s a deep vein of sadness that runs through the lines,<\/p>\n

Apne watan mein aaj do boond pani nahin<\/em>
\nTo yahaan zindagani nahin<\/em><\/p>\n

Unable to survive, let alone earn a livelihood, the villagers are leaving their hand. Perhaps they will return when the rains come and life (and livelihood) returns to their village, but oh, how do they leave?<\/p>\n

Pyaari dharti chhodein kaise?
\nKasmein apni todein kaise?<\/em>
\nMarna hoga mar jaayenge<\/em>
\nJeete jii munh modein kaise? <\/em><\/p>\n

It\u2019s disheartening that more than five decades after this song was written, there are still places in the world that are denuded of people for want of water.<\/p>\n

\u00a0<\/em><\/strong><\/p>\n

\"Kaifi

Kaifi and Ismat Chugtai on the sets of Garm Hawa<\/em> (Pic Courtesy: MS Sathyu)<\/p><\/div>\n

10. Meri awaaz suno<\/em><\/strong>
\nNaunihaal<\/em><\/strong> (1967)<\/strong>
\nSinger: Mohammed Rafi<\/strong>
\nMusic: Madan Mohan<\/strong><\/p>\n

Let me leave you with a song of hope for love, for unity. In an unusual film \u2013 where a child runs away to find Pandit Jawaharlal Nehru who, he\u2019s told, is his father \u2013 the picturisation of this song is particularly poignant, given that it plays out against shots of Pandit Nehru\u2019s cort\u00e8ge and a nation in mourning. Kaifi\u2019s lyrics seem to the exhortations of the dead man, as he urges people not to mourn his death but to listen to his words and follow a path of peace and love.<\/p>\n

The lyrics are particularly pertinent today, in a word riven by race, religion, and hatred of the other.<\/p>\n

Meri duniya mein na poorab hai na pachchhim koyi<\/em>
\nSaare insaan simat aaye khuli baahon mein
\nKal bhatakta tha main jin raahon mein tanha tanha
\nQafiley kitne mile aaj unhiin raahon mein
\nAur sab nikley, mere humdum-o-humraaz suno
\nMeri aawaaz suno<\/em><\/p>\n

Pyaar ka raag suno\u2026<\/em><\/p>\n

\u00a0<\/em><\/p>\n

\"Madan

(L to R) Chetan Anand, Priya Rajvansh, Lata Mangeshkar, Madan Mohan and Kaifi Azmi<\/p><\/div>\n

Kaifi Azmi passed into the ages on 10 May 2002. Poet, writer, rebel, feminist, progressive \u2013 we can find an array of labels to describe the man. But, most importantly, he was a humanist, a man whose heart beat for the poor and the deprived, whose pen gave voice to those without a voice, who believed in the humanity within us. His compassion led him, even after a debilitating illness, to work towards the upliftment of his village, Mijwan, a nondescript dot on a map, a place without a pukkah road or even a pin code. Today, the Kaifiyat Express, a train named after him, runs from Azamgarh to Delhi; there is a school and a college for girls in Mijwan, and also a computer centre; the Mijwan Welfare Society also runs a computer centre and a sewing and hand embroidery centre for women.<\/p>\n

Koi toh sood chukaaye koi to zimma le <\/em>
\nUs inquilab ka jo aaj tak udhaar sa hai<\/em><\/p>\n

That is how Kaifi Azmi lived. By taking responsibility for a revolution, a change that he knew he would not see in his lifetime but working towards it all the same. His spirit lives on, and so do his words. For those of us who love old Hindi film songs, or read poetry, his voice will reverberate through generations.<\/p>\n

More to read<\/strong><\/p>\n

Waqt Ne Kiya \u2013 The Introspective Songs of Kaifi Azmi<\/a><\/strong><\/p>\n

Jaane Kya Dhoondti Rehti Hai: Of a World Where Love Is Incinerated<\/a><\/strong><\/p>\n

Chetan Anand: Exploring the Unconventional to Make Landmark Films<\/a><\/strong><\/p>\n

Khayyam: The Poets\u2019 Musician<\/a><\/strong><\/p>\n

\u2018Rehearsals were Never Easy, Music Sittings were Always Fun\u2019 \u2013 Remembering Madan Mohan<\/a><\/strong> <\/p>\n","protected":false},"excerpt":{"rendered":"

An important figure in the Progressive Writers\u2019 Movement, Kaifi Azmi\u2019s poetry gave voice to those without one and raised social consciousness. However, as a film lyricist, he also proved that his words could encompass a gamut of human emotions, writes Anuradha Warrier. A Silhouette<\/em> special tribute.<\/p>\n","protected":false},"author":789,"featured_media":6913,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[821],"tags":[2403,2055,1900,2402,2401,1683,542,515],"class_list":["post-6881","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music-makers","tag-ali-sardar-jafri","tag-chetan-anand","tag-kaifi-azmi","tag-kaifi-azmi-poetry","tag-kaifi-azmi-songs","tag-madan-mohan-songs","tag-sahir-ludhianvi","tag-sd-burman"],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/6881","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/users\/789"}],"replies":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/comments?post=6881"}],"version-history":[{"count":11,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/6881\/revisions"}],"predecessor-version":[{"id":6914,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/6881\/revisions\/6914"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/media\/6913"}],"wp:attachment":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/media?parent=6881"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/categories?post=6881"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/tags?post=6881"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}