input: Watson was a field correspondent for Defenders of Wildlife from 1976 to 1980 and a field representative for the Fund for Animals from 1978 to 1981. Watson also was a co-founder of Friends of the Wolf and Earthforce Environmental Society.  During the 1980s, Watson declared his support for Earth First! and cultivated friendships with David Foreman and Edward Abbey. He proclaimed Sea Shepherd to be the "navy" of Earth First! According to The New Yorker, Watson revived the 19th-century practice of tree spiking. Watson ran as an independent candidate in the 1980 Canadian Federal election in Vancouver Centre, proclaiming he wasn't a politician but an environmentalist. He received less than 100 votes. Watson did work with the Green Party of British Columbia in Vancouver in the 1980s and 90s. He ran for mayor in 1996, placing fourth.  In April 2003, Watson was elected to the board of directors of the Sierra Club for a three-year term. In 2006, he did not seek re-election. He resigned from the board a month before his term ended, in protest against the organization's sponsorship of a "Why I Hunt" essay contest.  Watson feels that "no human community should be larger than 20,000 people," human populations need to be reduced radically to "fewer than one billion," and only those who are "completely dedicated to the responsibility" of caring for the biosphere should have children, which is a "very small percentage of humans." He likens humankind to a virus or a cancer. The biosphere needs to get cured from this cancer with a "radical and invasive approach."  In January 2008, Paul Watson was named by The Guardian as one of its "50 people who could save the planet" for the work of the Sea Shepherd Conservation Society.

Answer this question "Did he ever hold political office?"
output: In April 2003, Watson was elected to the board of directors of the Sierra Club for a three-year term.

Question: 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.

Using a quote from the above article, answer the following question: Did the British allow the dancers to perform?
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