Problem: 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.

Is there anything significant about Odissi dancing in the Medieval era?

Answer with quotes: Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era,


Problem: Born in Cleveland's Fairfax neighborhood, near East 85th Street and Quincy Avenue, to Naomi Womack and Friendly Womack, Bobby was the third of five brothers. Friendly Jr. and Curtis were the older brothers, Harry and Cecil were his younger brothers. They all grew up in the Cleveland slums, so poor that the family would fish pig snouts out of the local supermarket's trash. He had to share a bed with his brothers.

Circa 1965, Womack relocated to Memphis where he worked at Chips Moman's American Studios. He played guitar on recordings by Joe Tex and the Box Tops. Womack played guitar on several of Aretha Franklin's albums, including Lady Soul, but not on the hit song "Chain of Fools", as erroneously reported. His work as a songwriter caught the eye of music executives after Wilson Pickett took a liking to some of Womack's songs and insisted on recording them. Among the songs were "I'm a Midnight Mover" and "I'm in Love".  In 1968, Bobby signed with Minit Records and recorded his first solo album, Fly Me to the Moon, where he scored his first major hit with a cover of The Mamas & the Papas' "California Dreamin'". In 1969, Womack forged a partnership with Gabor Szabo and with Szabo, penned the instrumental "Breezin'", later a hit for George Benson. Womack also worked with rock musicians Sly and the Family Stone and Janis Joplin, contributing vocals and guitar work on the Family Stone's accomplished album There's a Riot Goin' On, and penning the ballad "Trust Me", for Joplin on her album Pearl. In fact, Womack was one of the last people to see Joplin alive, having visited her hours before she died at the Landmark Hotel in Los Angeles, California.  After two more albums with Minit, Bobby switched labels, signing with United Artists where he changed his attire and his musical direction with the album Communication. The album bolstered his first top 40 hit, "That's the Way I Feel About Cha", which peaked at number two R&B and number twenty-seven on the Billboard Hot 100 in the spring of 1972.

Did this receive any awards or set any records?

Answer with quotes:
The album bolstered his first top 40 hit,