Problem: Background: Ashcroft was the only son of office worker Frank and hairdresser Louise (nee Baxter); he also has two younger sisters. His middle name, Paul, is also the name of a paternal uncle. When Ashcroft was 11, his father died suddenly of a brain haemorrhage. Ashcroft soon "fell under the influence of his stepfather", who belonged to the Rosicrucians.
Context: Ashcroft's first solo single, "A Song for the Lovers", peaked at No. 3 in the UK charts in April 2000. It was followed by the single "Money to Burn" which reached the UK Top 20 at No. 17. The album, Alone with Everybody, was released in June, reaching number 1 and receiving platinum status in the UK. Album reviews were generally positive. In September, a third single was released - "C'mon People (We're Making It Now)" - entering the charts at No. 21. Richard does not publish the lyrics to his songs in the inlay cards of his albums or singles as he feels they are personal to him.  Ashcroft began work on his second album Human Conditions in 2002. The lead single, "Check the Meaning", was released in early October, and peaked at No. 11 on the UK Singles Chart. The album was released later that month and reached No. 3 in the UK Album Chart. Reception to the album was generally positive. Review aggregating website Metacritic reports a normalised score of 61% based on 15 reviews. In response to negative reaction to the album, Coldplay's Chris Martin - a fan of both Ashcroft and The Verve - defended the album's merits which "made an impression" on Ashcroft. The appreciation shown would later result in a support slot for Ashcroft, serving as the opening act for Coldplay during a European tour. The album's second single, "Science of Silence", was released the following January and charted at No. 14 in the UK. On 26 March, Ashcroft made his first live appearance of 2003 at London's Royal Albert Hall as part of the third annual Teenage Cancer Trust charity fundraising event, before "Buy It in Bottles", the third and final single to be taken from the album, was released on 7 April, charting at No. 26.  Aside from a limited number of appearances in 2003, Ashcroft was absent from the music business for about two years. He later explained this in 2006, stating that "[e]veryone got it into their heads over the last few years that I was in my ivory tower like Lennon, baking bread all day. The fact of the matter was that I was bringing up kids".
Question: What did he do in his absence?
Answer: He later explained this in 2006, stating that "[e]veryone got it into their heads over the last few years that I was in my ivory tower like Lennon, baking bread

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: Did both males and females perform the dance?
Answer:
patronage. This expansion integrated martial arts (akhanda) and athletics into Odissi dance, by engaging boys and youth called Gotipuas,