Problem: 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 this inhibit the practice of the dance?
Answer: 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

Problem: Background: Means was born in Porcupine, South Dakota, on the Pine Ridge Indian Reservation, to Theodora Louise Feather and Walter "Hank" Means. His mother was a Yankton Dakota from Greenwood, South Dakota, and his father, an Oglala Lakota. As well as Russell, the family had two other boys (William "Bill" and Warren ) and three girls (Madonna, Mabel Ann and Phyllis). He was given the name Wanbli Ohitika by his mother, which means "Brave Eagle" in the Lakota language.
Context: In the 1980s, AIM divided into several competing factions, in part over differences among members regarding support for the indigenous peoples in Nicaragua. Means supported the Miskito group MISURASATA (later known as YATAMA), which was allied with the Contras. He traveled to Nicaragua in 1985 and 1986 on fact-finding tours. He came to believe that the Miskito as a people were being targeted for elimination. Some AIM members supported the Sandinistas of the national government, although they had forced removal of thousands of Miskito from their traditional territory. At that time, the "Grand Governing Council" of AIM, based in Minnesota, asked Means to cease representing himself as a leader of AIM. Other chapters of AIM continued to support Means.  On January 8, 1988, Means held a press conference to announce his retirement from AIM, saying it had achieved its goals. That January, the "AIM Grand Governing Council", headed by the Bellecourt brothers, released a press release noting this was the sixth resignation by Means since 1974, and asking the press to "never again report either that he is a founder of the American Indian Movement, or [that] he is a leader of the American Indian Movement". The "AIM General Governing Council" noted there were many open issues and legislation regarding Native Americans for which they were continuing to work.  In 1993, the organization divided officially into two main factions: "AIM Grand Governing Council", based in Minnesota, which copyrighted the name; and American Indian Movement of Colorado, based in Colorado and allied with Means.
Question: What does AIM mean?
Answer: 

Problem: Background: Henry Franklin Winkler was born on October 30, 1945 on the West Side of Manhattan, New York, the son of homemaker Ilse Anna Marie (nee Hadra; 1913-2002) and lumber company president Harry Irving Winkler (1903-1995). His parents were German Jews who emigrated from Berlin to the U.S. in 1939, on the eve of World War II. Winkler said that his parents came to the U.S. for a six-month business trip but knew they were never going back. His father smuggled the only assets the family had left (family jewels disguised as a box of chocolates) that he carried under his arm.
Context: Winkler's audition for the Yale School of Drama was to be a Shakespeare monologue, which he promptly forgot, so he made up his own Shakespeare monologue. Out of a class of 25 actors, 11 finished. During summers, he and his classmates opened a summer stock theater called New Haven Free Theater, putting on various plays including Woyzeck, and an improv night. The company put on a production of The American Pig at the Joseph Papp Public Theater for the New York Shakespeare Festival in New York City. In June 1970, after graduating from Yale, Winkler was asked to be part of the Yale Repertory Theatre company, which included James Naughton and Jill Eikenberry.  During his time there, Cliff Robertson, who had seen him perform in East Hampton, offered him a part in his film The Great Northfield Minnesota Raid. Winkler had to decline because he had no understudy for his current role, and thus was unable to leave. He stayed with the Yale Repertory Theatre for a year and a half.  In 1971, Winkler got a job at the Arena Stage in Washington, D.C. to work on the play, Moonchildren, but was fired by director, Alan Schneider.  In 1977, Winkler appeared in a TV special, "Henry Winkler Meets William Shakespeare," part of the CBS Festival of Lively Arts for Young People instructional series for children. With the assistance of Tom Aldredge as Shakespeare, Winkler, as himself, introduced an audience of children to Romeo and Juliet, The Taming of the Shrew, Hamlet, and Henry IV and explained to them how Shakespeare's plays were produced at the Globe Theatre in London in the 17th century. He also played Romeo in the scene from Romeo and Juliet in which Romeo slays Tybalt in a sword duel.
Question: Where was that located?
Answer:
New York City.