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.

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.

What were the dancers called?

OUT: the dancers called Maharis,


IN: Enrique Miguel Iglesias Preysler (; Spanish pronunciation: [en'rike mi'gel i'glesjas 'preizler]; born 8 May 1975) is a Spanish singer, songwriter, actor and record producer. He is widely regarded as the King of Latin Pop.

In 2002, Iglesias decided to release a fourth Spanish-language album titled Quizas (Perhaps). A more polished musical production than his previous Spanish albums and containing more introspective songs, the album's title track is a song about the strained relationship Iglesias has with his famous father.  The album debuted at number twelve on the Billboard 200 albums chart, the highest placement of a Spanish language album on the chart at that period. Quizas sold a million copies in a week, making it the fastest-selling album in Spanish in five years. The three singles released from the album all ended up topping the Latin chart, giving Iglesias a total of sixteen number ones on the chart. He currently holds the record for the most number one singles on Billboard's Latin Chart. His last single from the album, "Para Que La Vida", reached a million spins on U.S. radio, the only Spanish language song to do so.  The video to the song "Quizas" was the first Spanish language music video to be added to the selection on one of MTV's popular shows, Total Request Live. Iglesias performed the song on The Tonight Show with Jay Leno, becoming the first to sing a Spanish song on the show, and opening doors for other artists such as Ricky Martin, Juanes and Jorge Drexler to perform their Spanish material. Iglesias included songs from Quizas in his "Don't Turn Off the Lights Tour", and the album went on to win the Latin Grammy Award for Best Pop Vocal Album.  By 2003 Iglesias released his seventh album, which he called 7, the second to be co-written by Iglesias. Among its more 1980s-inspired material, it features the song "Roamer", which he wrote with his friend and longtime guitarist, Tony Bruno. The CD also contained the song "Be Yourself", a song about independence (the chorus talks about how Iglesias' own parents did not believe he'd ever succeed in his singing career). The first single was the song "Addicted", and was followed closely by a remix of the song "Not in Love", featuring Kelis.  With this album, Iglesias went on his biggest world tour to date. The highly publicised tour started with twelve shows in the United States ending with Iglesias playing at Houston Rodeo and continued on to several countries, most of which he'd never previously visited playing to sold-out arenas and stadiums in Australia, India, Egypt and Singapore before ending his tour in South Africa.

Did he do any world tours during that period?

OUT:
The highly publicised tour started with twelve shows in the United States ending with Iglesias playing at Houston Rodeo and continued on to several countries,