input: Benjamin made his independent circuit return on July 24, 2010, in San Diego, California against Scorpio Sky. On July 31, 2010, during the World Wrestling Council's "La Revolucion" show in Puerto Rico, Benjamin defeated Ray Gonzalez to win the WWC Universal Heavyweight Championship. At Crossfire on November 27, Benjamin lost the Universal Heavyweight Championship to Carlito.  In November 2010, Benjamin competed for American Wrestling Rampage. He made his debut on November 10 with Haas facing La Resistance. During his tour with AWR he defeated Shawn Daivari in a steel cage match. He also had tag team matches with Haas taking on Booker T and Scott Steiner. On March 8, 2011, Benjamin wrestled in a dark match prior to the SmackDown tapings in Houston, Texas, defeating Curt Hawkins. On March 9, 2011, Benjamin won the MWF Heavyweight Championship and lost it on June 4.  At JAPW 18th Anniversary Show, Haas, Benjamin and Angle reunited for the first time in 11 years. In the main event, Benjamin and Haas defeated Chris Sabin and Teddy Hart.  On May 15, 2015, Global Force Wrestling (GFW) announced Benjamin as part of their roster. He made his debut for the promotion on June 20, defeating Chris Mordetzky in a main event singles match. Benjamin participated in Global Force Wrestling's inaugural tournament to crown their very first GFW Global Champion, which served as the company's world heavyweight championship. After gaining a victory in the quarter-finals, he forfeited his next match-up to Bobby Roode due to a storyline concussion.

Answer this question "When did Shelton Benjamin join the Independent circuit?"
output: Benjamin made his independent circuit return on July 24, 2010,

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: Since Britain is a christian country, did that affect the culture?
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Answer:
Christian missionaries launched a sustained attack on the moral outrage of sensuousness of Odissi and other Hindu temple dance arts.