Answer the question at the end by quoting:

Eleanor's year of birth is not known precisely: a late 13th-century genealogy of her family listing her as 13 years old in the spring of 1137 provides the best evidence that Eleanor was perhaps born as late as 1124. On the other hand, some chronicles mention a fidelity oath of some lords of Aquitaine on the occasion of Eleanor's fourteenth birthday in 1136. This, and her known age of 82 at her death, make 1122 more likely the year of birth. Her parents almost certainly married in 1121.
On 25 July 1137 Louis VII of France and Eleanor were married in the Cathedral of Saint-Andre in Bordeaux by the Archbishop of Bordeaux. Immediately after the wedding, the couple were enthroned as Duke and Duchess of Aquitaine. However, there was a catch: the land would remain independent of France until Eleanor's oldest son became both King of the Franks and Duke of Aquitaine. Thus, her holdings would not be merged with France until the next generation. As a wedding present she gave Louis a rock crystal vase, currently on display at the Louvre. Louis gave the vase to the Basilica of St Denis. This vase is the only object connected with Eleanor of Aquitaine that still survives.  Louis's tenure as Count of Poitou and Duke of Aquitaine and Gascony lasted only a few days. Although he had been invested as such on 8 August 1137, a messenger gave him the news that Louis VI had died of dysentery on 1 August while Prince Louis and Eleanor were making a tour of the provinces. Thus he became King Louis VII of France. He and Eleanor were anointed and crowned King and Queen of the Franks on Christmas Day of the same year.  Possessing a high-spirited nature, Eleanor was not popular with the staid northerners; according to sources, Louis's mother Adelaide of Maurienne thought her flighty and a bad influence. She was not aided by memories of Constance of Arles, the Provencal wife of Robert II, tales of whose immodest dress and language were still told with horror. Eleanor's conduct was repeatedly criticized by church elders, particularly Bernard of Clairvaux and Abbot Suger, as indecorous. The king was madly in love with his beautiful and worldly bride, however, and granted her every whim, even though her behavior baffled and vexed him. Much money went into making the austere Cite Palace in Paris more comfortable for Eleanor's sake.

Why did she give him that gift?





Answer the question at the end by quoting:

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.
After 12th-century, Odia temples, monasteries and nearby institutions such as the Nalanda in eastern Indian subcontinent came under waves of attacks and ransacking by Muslim armies, a turmoil that impacted all arts and eroded the freedoms previously enjoyed by performance artists. The official records of Sultan Firuz Shah Tughlaq's invasion in Odisha (1360-1361 CE), for example, describe the destruction of the Jagannath temple as well as numerous other temples, defacing of dancing statues, and ruining of dance halls. This led to a broad decline in Odissi and other religious arts, but there were some benevolent rulers in this period who supported arts particularly through performances at courts. During the Sultanate and Mughal era of India, the temple dancers were moved to entertain the Sultan's family and courts. They became associated with concubinage to the nobility.  The Odissi dance likely expanded in the 17th century, states Alexandra Carter, under King Ramachandradeva's patronage. This expansion integrated martial arts (akhanda) and athletics into Odissi dance, by engaging boys and youth called Gotipuas, as a means to physically train the young for the military and to resist foreign invasions. According to Ragini Devi, historical evidence suggests that the Gotipuas tradition was known and nurtured in the 14th century, by Raja of Khurda.  During the British Raj, the officials of the colonial government ridiculed the temple traditions, while Christian missionaries launched a sustained attack on the moral outrage of sensuousness of Odissi and other Hindu temple dance arts. In 1872, a British civil servant named William Hunter watched a performance at the Jagannath temple in Puri, then wrote, "Indecent ceremonies disgraced the ritual, and dancing girls with rolling eyes put the modest worshipper to the blush...", and then attacked them as idol-worshipping prostitutes who expressed their devotion with "airy gyrations".  Christian missionaries launched the "anti-dance movement" in 1892, to ban all such dance forms. The dancers were dehumanized and stigmatized as prostitutes during the British period. In 1910, the British colonial government in India banned temple dancing, and the dance artists were reduced to abject poverty from the lack of any financial support for performance arts, combined with stereotyping stigma.

What role did the Odissi dancers play during the British rule?
the temple dancers were moved to entertain the Sultan's family and courts.