IN: 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.

What happened to the dancers after this happened?

OUT: the dance artists were reduced to abject poverty from the lack of any financial support for performance arts, combined with stereotyping stigma.


IN: Karen Horney was born Karen Danielsen on 16 September 1885 in Blankenese, Germany, near Hamburg. Her father, Berndt Wackels Danielsen (1836-1910), was Norwegian but had German citizenship. He was a ship's captain in the merchant marine, and a Protestant traditionalist (his children nicknamed him "the Bible-thrower", as he did indeed throw Bibles). Her mother, Clotilde, nee van Ronzelen (1853-1911), known as "Sonni", was also Protestant, of Dutch origin.

Horney, together with fellow psychoanalyst Alfred Adler, formed the Neo-Freudian discipline.  While Horney acknowledged and agreed with Freud on many issues, she was also critical of him on several key beliefs.  Like many who held opposing views with Freud, Horney felt that sex and aggression were not the primary constituents for determining personality. Horney, along with Adler, believed there were greater influences on personality through social occurrences during childhood, rather than just repressed sexual passions. The two focused more on how the conscious mind plays a role in human personality, not just subconscious repression. Freud's notion of "penis envy" was particularly subject to criticism, as well. She thought Freud had merely stumbled upon women's jealousy of men's generic power in the world. Horney accepted that penis envy might occur occasionally in neurotic women, but stated that "womb envy" occurs just as much in men: Horney felt that men were envious of a woman's ability to bear children. The degree to which men are driven to success may be merely a substitute for the fact that they cannot carry, nurture and bear children. Horney also thought that men were envious of women because they fulfill their position in society by simply "being", whereas men achieve their manhood according to their ability to provide and succeed.  Horney was bewildered by psychiatrists' tendency to place so much emphasis on the male sexual organ. Horney also reworked the Freudian Oedipal complex of the sexual elements, claiming that the clinging to one parent and jealousy of the other was simply the result of anxiety, caused by a disturbance in the parent-child relationship.  Despite these variances with the prevalent Freudian view, Horney strove to reformulate Freudian thought, presenting a holistic, humanistic view of the individual psyche which placed much emphasis on cultural and social differences worldwide.

How were her beliefs received?

OUT: