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: Where were the dances performed?
Answer: Odia temples, monasteries and nearby institutions such as the Nalanda in eastern Indian subcontinent

Problem: Background: Nielsen was born on 11 February 1926 in Regina, Saskatchewan. His mother, Mabel Elizabeth (nee Davies), was an immigrant from Wales, and his father, Ingvard Eversen Nielsen, was a Danish-born constable in the Royal Canadian Mounted Police. Nielsen had two brothers; the elder, Erik Nielsen (1924-2008), was a long-time Canadian Member of Parliament, cabinet minister, and Deputy Prime Minister of Canada from 1984 to 1986. Nielsen's half-uncle Jean Hersholt was an actor known for his portrayal of Dr. Christian in a radio series of that name, and the subsequent television series and films.
Context: After Airplane! and The Naked Gun, Nielsen portrayed similarly styled roles in a number of other films. These mostly emulated the style of The Naked Gun with varying success and often targeted specific films; many were panned by critics and most performed poorly. Repossessed (1990) and 2001: A Space Travesty (2001) were parodies of The Exorcist and 2001: A Space Odyssey, respectively. Both attempted absurd comedy, but were poorly received. Even a leading role in a Mel Brooks comic horror, Dracula: Dead and Loving It, failed to generate much box-office excitement, although it did gain a following in a later release to video. Both 1996's Spy Hard and 1998's Wrongfully Accused, a parody of James Bond films and The Fugitive, were popular on video, but not well received by critics.  His attempt at children's comedies met additional criticism. Surf Ninjas (1993) and Mr. Magoo (1997) had scathing reviews. Several critics were disappointed that Nielsen's role in Surf Ninjas was only "an extended cameo" and Chris Hicks recommended that viewers "avoid any comedy that features Leslie Nielsen outside of the Naked Gun series." Jeff Miller of the Houston Chronicle panned Mr. Magoo, a live-action remake of the 1950s cartoon, by saying, "I'm supposed to suggest how the film might be better, but I can't think of anything to say other than to make the film again."  Nielsen's first major success since The Naked Gun came in a supporting role in Scary Movie 3 (2003). His appearance as President Harris led to a second appearance in its sequel, Scary Movie 4 (2006). This was the first time Nielsen had reprised a character since Frank Drebin. In one scene, Nielsen appeared almost nude, and one critic referred to the scene as putting "the 'scary' in Scary Movie 4."
Question: which other movie was a fail?
Answer:
His attempt at children's comedies met additional criticism. Surf Ninjas (1993) and Mr. Magoo (1997) had scathing reviews.