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: Was Odissi an acceptable form of dancing during the Medieval era?
Answer: The Buddhist icons, for example, are depicted as dancing gods and goddesses,

Problem: Background: Sydney Francis Barnes (19 April 1873 - 26 December 1967) was an English professional cricketer who is generally regarded as one of the greatest ever bowlers. He was right-handed and bowled at a pace that varied from medium to fast-medium with the ability to make the ball both swing and break from off or leg. He is the quickest bowler to achieve 150 Test wickets in history. Barnes was unusual in that, despite a very long career as a top-class player, he spent little more than two seasons in first-class cricket, representing Warwickshire and Lancashire.
Context: Barnes was 41 when the First World War broke out and so too old for military service. From 1915 to 1923, he played exclusively for Saltaire in the Bradford League, taking 904 wickets at an average of 5.26. He took a hundred wickets in a season five times, a rare feat in the Bradford League's history. From 1924 to 1930, he played for Castleton Moor and Rochdale in the Central Lancashire League. He was with Rawtenstall in the Lancashire League from 1931 to 1933. Then, aged 61, he returned to the Bradford League to play for Keighley in 1934, which was his final season in league cricket.  Barnes declined the opportunity to join the tour to Australia in 1920-21, when he was 47 years old. He had wanted to bring his family with him, but it became clear that he would have to pay their traveling expenses. He was not selected by England nor did he seek selection by the Players after the First World War. He did not play first-class cricket again until 1927 when he was 54 years old. From then until 1930, he made nine appearances for Wales.  Barnes took 49 wickets for Wales in 1928, including seven for 51 and five for 67 in an eight wicket win over the touring West Indians. He also made two first-class appearances for the Minor Counties in 1929 and took eight for 41 in a drawn game against the South Africans at Stoke-on-Trent. Barnes' final first-class appearance was for Wales against Marylebone Cricket Club (MCC) at Lord's in 1930.  Barnes made 177 appearances for Staffordshire in the Minor Counties Championship between 1904 and 1935. This was in two parts: 1904 to 1914; and 1924 to 1935. His career record for Staffordshire was 1,432 wickets at an average of 8.03.
Question: Who did he play for at this point and time
Answer:
he returned to the Bradford League to play for Keighley in 1934, which was his final season in league cricket.