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: 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.
Question: What happened to the dancers after this happened?
Answer: the dance artists were reduced to abject poverty from the lack of any financial support for performance arts, combined with stereotyping stigma.

Problem: Background: Junius Richard Jayewardene (Sinhalese: juniys ricdd jyvrdhn,Tamil: juunnniys ricctt jyvrtnnnaa; 17 September 1906 - 1 November 1996), commonly abbreviated in Sri Lanka as J. R., was the leader of Sri Lanka from 1977 to 1989, serving as Prime Minister from 1977 to 1978 and as the second President of Sri Lanka from 1978 till 1989. He was a leader of the nationalist movement in Ceylon (now Sri Lanka) who served in a variety of cabinet positions in the decades following independence.
Context: On the economic front, Jayewardene's legacy was decisive. For thirty years after independence, Sri Lanka had struggled in vain with slow growth and high unemployment. Since Jayewardene's reforms, the island has maintained healthy growth despite the civil war.  On the ethnic question, Jayewardene's legacy is bitterly divisive. When he took office, ethnic tensions were present but the country as a whole was at peace. By the end of his tenure, Sri Lanka was facing not one but two civil wars, both featuring unprecedented levels of violence and brutality.  Though Jayewardene indeed did not take measures to stop the attack on Tamils, he was not opposed to them personally, only politically. One of his most esteemed friends was a supreme court judge of Tamil ethnicity, a member of an elite family and raised in Colombo, but who was strongly linked to his Jaffna Tamil heritage. This is but one close Tamil friend of the president's, and it is quite clear that he was not a racist but rather a man who knew how to exploit racism to win the majority.  Highly respected in Japan for his call for peace and reconciliation with post-war Japan at the Peace Conference in San Francisco in 1951, a statue of Jayewardene was erected at the Kamakura Temple in the Kanagawa Prefecture in Japan in his honor. In 1988, the J.R Jayewardene Centre was established by the J.R Jayewardene Centre Act No. 77 of 1988 by Parliament at the childhood home of J. R. Jayewardene Dharmapala Mawatha, Colombo. It serves as archive for J.R Jayewardene's personal library and papers as well as papers, records from the Presidential Secretariat and gifts he received in his tenure as President.
Question: wdid he receive any honors?
Answer:
a statue of Jayewardene was erected at the Kamakura Temple in the Kanagawa Prefecture in Japan in his honor.