Problem: Background: The "Miracle on Ice" refers to a medal-round game during the men's ice hockey tournament at the 1980 Winter Olympics in Lake Placid, New York, played between the hosting United States, and the defending gold medalists, the Soviet Union. The Soviet Union had won the gold medal in five of the six previous Winter Olympic Games, and were the favorites to win once more in Lake Placid. The team consisted primarily of professional players with significant experience in international play. By contrast, the United States' team--led by head coach Herb Brooks--consisted exclusively of amateur players, and was the youngest team in the tournament and in U.S. national team history.
Context: In exhibitions that year, Soviet club teams went 5-3-1 against National Hockey League (NHL) teams, and a year earlier, the Soviet national team had routed the NHL All-Stars 6-0 to win the Challenge Cup. In 1979-80, virtually all the top North American players were Canadians, although the number of U.S.-born professional players had been on the rise throughout the 1970s. The 1980 U.S. Olympic team featured several young players who were regarded as highly promising, and some had signed contracts to play in the NHL immediately after the tournament.  In September 1979, before the Olympics, the American team started exhibition play. They played a total of 61 games in five months against teams from Europe and America. Through these games, Herb Brooks instilled a European style of play in the American team, emphasizing wide open play with sufficient body contact. He believed it would be the only way for the Americans to compete with the Soviets. From the start of the exhibitions, he conducted the team through skating windsprints consisting of end line to blue line and back, then end line to red line and back, then end line to far blue line and back, and finally end line all the way down and back. Some of the players took to calling these Herbies. On September 17, 1979, the team played to a 3-3 tie in Norway. Brooks had them skate Herbies after the game, and after a while, the lights were turned off by custodians and the practice continued in the dark. Near the end of the exhibition season, although he had supported them throughout, Brooks threatened because of subpar play to cut Eruzione (the captain) and replace Craig as the starting goalie with Steve Janaszak.  In the last exhibition game against the Soviets at Madison Square Garden on February 9, 1980, the Soviets crushed the Americans 10-3. Soviet head coach Viktor Tikhonov later said that this victory "turned out to be a very big problem" by causing the Soviets to underestimate the American team. The game was also costly for the Americans off-ice, as defenseman Jack O'Callahan pulled a ligament in his knee; however, Brooks kept O'Callahan on the roster which meant virtually playing with only 19 players throughout the tournament. O'Callahan would eventually return for the game against the Soviets playing limited minutes.
Question: Where were the exhibitions held?
Answer: He believed it would be the only way for the Americans to compete with the Soviets.

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: How did this affect the dancers?
Answer:
The dancers were dehumanized and stigmatized as prostitutes during the British period.