Problem: Background: Shenandoah is an American country music group founded in Muscle Shoals, Alabama in 1984 by Marty Raybon (lead vocals, acoustic guitar), Ralph Ezell (bass guitar, backing vocals), Stan Thorn (keyboards, backing vocals), Jim Seales (lead guitar, backing vocals), and Mike McGuire (drums, background vocals). Thorn and Ezell left the band in the mid-1990s, with Rocky Thacker taking over on bass guitar; Keyboardist Stan Munsey joined the line up in 1995. The band split up in 1997 after Raybon left. Seales, Munsey, Thacker and McGuire reformed the band in 2000 with lead singer Brent Lamb, who was in turn replaced by Curtis Wright and then by Jimmy Yeary.
Context: Columbia's parent company Sony Music Entertainment released ten of the band's Columbia songs in a Super Hits compilation in May 1994, which was certified gold in 2002. Shenandoah also collaborated with country and bluegrass singer Ricky Skaggs on the 1994 Keith Whitley tribute Keith Whitley: A Tribute Album, recording a cover version of Whitley's "All I Ever Loved Was You". Later in 1994, the band left RCA for Liberty Records, then the name for the Nashville division of Capitol Records. RCA gave Liberty the master recordings for a nearly-completed album, to which Liberty added "Somewhere in the Vicinity of the Heart", a song featuring guest vocals from bluegrass musician Alison Krauss. Liberty released the album in November 1994 as In the Vicinity of the Heart, with the number seven-peaking title track also serving as the first single release. This song was also Krauss' first top 40 country hit, and its success helped boost sales of her album Now That I've Found You: A Collection.  Vicinity became the band's fastest-selling album, and the first 175,000 copies were distributed with prepaid telephone cards which included an 800 number that could be called to receive a greeting from the band members. The album also produced the band's last Top Ten hit in "Darned If I Don't (Danged If I Do)." Originally the B-side to "Somewhere in the Vicinity of the Heart," this song was co-written by Ronnie Dunn (of Brooks & Dunn) and songwriter Dean Dillon, best known for co-writing several of George Strait's singles. "Heaven Bound (I'm Ready)" (another Dennis Linde song) and "Always Have, Always Will," peaking at numbers 24 and 40, were the last two releases from the album. Jim Ridley gave the album a two-and-a-half star rating in New Country magazine, citing the vocal performances on the title track and "I Wouldn't Know" as standouts, but saying that the rest of the album did not take any risks.  Raybon released a solo gospel music album for Sparrow Records in July 1995, and in October of the same year, that label released a multi-artist country-gospel album entitled Amazing Grace -- A Country Salute to Gospel, to which the band contributed a rendition of "Beulah Land." Shenandoah also covered The Beatles' "Can't Buy Me Love" on the mid-1995 album Come Together: America Salutes The Beatles. "Somewhere in the Vicinity of the Heart" won Shenandoah and Krauss won the 1995 Grammy Award for Best Country Vocal Collaboration and the Country Music Association award for Vocal Event, and "Darned If I Don't" was nominated for Grammy Award for Best Country Vocal by a Duo or Group the same year.
Question: Did they tour for the album?
Answer: 

Problem: Background: Odissi (Odia: odd'ishii Odisi), also referred to as Orissi in older literature, is a major ancient Indian classical dance that originated in the Hindu temples of Odisha - an eastern coastal state of India. Odissi, in its history, was performed predominantly by women, and expressed religious stories and spiritual ideas, particularly of Vaishnavism (Vishnu as Jagannath). Odissi performances have also expressed ideas of other traditions such as those related to Hindu gods Shiva and Surya, as well as Hindu goddesses (Shaktism). The theoretical foundations of Odissi trace to the ancient Sanskrit text Natya Shastra, its existence in antiquity evidenced by the dance poses in the sculptures of Odissi Hindu temples, and archeological sites related to Hinduism, Buddhism and Jainism.
Context: The Buddhist, Jain and Hindu archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odissi-like postures. Historical evidence, states Alexandra Carter, shows that Odissi Maharis (Hindu temple dancers) and dance halls architecture (nata-mandap) were in vogue at least by the 9th century CE.  According to Kapila Vatsyayan, the Kalpasutra of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses - such as the Samapada, the Tribhangi and the Chuaka of Odissi. This, states Vatsyayan, suggests that Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text. However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the Abhinaya Chandrika and Abhinaya Darpana provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanas mentioned in NatyaShastra. Similarly, the illustrated Hindu text on temple architecture from Odisha, the Shilpaprakasha, deals with Odia architecture and sculpture, and includes Odissi postures.  Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odissi dance. This is evidenced in Jagannath temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.  The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus and growth of modern Odissi. Odissi was performed in the temples by the dancers called Maharis, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services.
Question: In what arenas were you able to witness the Odissi performers in the Medieval era?
Answer:
Odissi was performed in the temples by the dancers called Maharis,