Mardal is known as main tala instrument of Orissi Sangit & Dance. It is widely known in national & international level. It was considered to be the best in all old cultural books. It was described as the best instrument in all merrymaking or otherwise described as “AANANDE MARDAL SRESTHA”. Mardal playing is an oldest tradition in Orissa. In all most all Indian Classical Dances Orissa in one of them and Mardal is the man musical instrument in Orissi Dance. Although there are varieties of folk dances and vocal music, Mardal was only used in Orissi dance & Orissi Vocal. It was accepted NATYA SASTRA of BHARAT MUNI as “OODRA MAGADHI DANCE STYLE”. So the tradition of using Mardal is supposed to be from the very remote past. It is also established from the inscription in palm leaf books of Orissa (POTHI).
It is also available in almost all the all temples along with the Orissi dancing idols. In the RAJARANI temple of Bhubaneswar, which was built in 10th century one can find Mardal along with the idols of dancers. In the stone inscriptions it is established that DEBADASHI’S were dancing before the deities in temples in Orissa.
These DEBADASIS (Devotional Dancers) in the temple were expert in dancing and Mardal was used with music & dance at that time. The famous temple of Puri was completed b the kings of GANGODYNASTY in the eleventh century. In this temple among 6 important systems of worship, dancing was on of the important customs and the dancers were known as MAHARI. It is clearly established about the MAHARI DEBADASI system and GITAGOBINDA chanting from the temple service act 119, sr. no. 74, 75, 76 and the famous MADALA PANJI there is special description of playing with Mardal. It is description of playing with “MADALA SEVA” was having a special space among “CHATISHI NIYOGA”. It is not only used inside JAGANNATH temple but also used in JAGANNATH related functions like “CHANDAN YATRA” (Boat Festival), JHULANA YATRA (Swing Festival), RATHA YATRA (Car Festival) etc.
The presence of Mardal is observed in the stone works of famous 13th century KONARK TEMPLE and other temples built much before. The structures in temples are due to the society of that time accepting, singing & dancing by artists. These were associated and accepted as life styles of Oriya people. Subsequently the use of Mardal in Orissi dance and song was very much in existence and use by JAGA & AKHEDA, social & cultural festivals like DOLA YATRA etc.
When the culture of Orissa was in progress Muslim invasion on Puri temple brought a great change and influenced the traditional systems, styles and rituals. Due to introduction of GOUDIA VAISHNAV rituals in Sri JAGANNATH TEMPLE, GOTIPUA DANCE (Dancer Boy in Girls’ Costume) was entered to the temple as part of worship ritual. The MAHARI DANCE which was only functional inside the temple, now spread all over Orissa in almost all social functions due to GOTIPUA dance and the tradition of using Mardal although was very old, as the instrument along with Orissi Dance and Singing also spread all over.
At a time when people were forgetting these old traditions, the famous Padma Bibhusan Guru Kelucharan Mahapatra, Guru Pankaj Charan Dash and many others presented this unique music instrument in the whole world with their Godly gifted quality in Orissi dance. Guru Kelucharan himself was also an eminent Mardal player.
In the process of innovative ideas of young Orissi Gurus, this Mardal was thought not to use only in Orissi dance or song but try to establish Mardal as a full fazed musical instrument. Late Singhari Shyamasundar Kar, Late Chakradhar Sahoo, Late Padmanava Panda, Late Mahadev Rout are among many who were expert Mardal players. The establishment of “Utkal Sangeeta Mahavidyalaya,” which has done a commendable venture to make the instrument famous by opening a special department. Guru Banamali Maharana along with some disciples has definitely proved as a successful Guru enriched a tradition by using Mardal in many ways. Sri Harmohan Khuntia, Sri Dhaneswar Swain, Sri Janardan Dash, Sri Satchidananda Das, Sri Niranjan Patra among many earned name as Mardal masters.
The special feature in Mardal possess a secluded place among many musical instruments like Mrudangam in Karnataki and Pakhawaj in Hindustani. Although these instruments are able to keep pace with Mardal, but the making style and size is different in case of Mardal.
Before playing with Mrudangam or Pakhawaj a paste of wheat powder is used in left side, but incase of Mardal permanent paste called kiran or kali (a paste with cooked rice, mud kendu gum) is used that creates a special note while it is used different than the note produced by the above two instruments. The sound produced by Mardal is classical known as Vani. The Vani is of 12 types; like Ka, Ga, Gha, Ta, Nna, Tta, Taa, Tha, Da, Dha, Na, Ma.
The use of palm and finger is totally different on Mardal while playing than on Pakhawaj & Mrudangam. Using tabla in solo, we find Uthana, Peskar, Chalan, Kayada, Lagi, Ladi, Tukuda, Rela and Different Types of Tyahi. But in Mardal solo display we find Jamana, Ragada, Khandi, Gadi, Arasa, Mana and other types like Abiram Mana, Biram Mana, Lagana Mana, Bhaunri Mana, Chaka Mana, with Bhaunri Aarasa. These definitely prove the separate identity of the unique Orisian music instrument, with special structure and use in Orissi song. Mardal is used as solo and talas are Aditala, Tripata, Jhampa, Sariman, Jati and Aditali. In solo the Mardal players prefer high note like Aditala, Tripata, Jhampa, to low note like Sariman, Ekatali, Rupaka, Khemeta etc. for presenting best performance.
With the changing attitude in style and functioning of the musical instruments and even after wide introduction of electronic instrument, the modern Mardal players are not remaining behind keeping pace with the changing circumstances. They cultivate innovative styles to project and present their beloved Mardal inherited from forefathers from remote past carrying cultural heritage for future generation. There is no doubt these present venture will grow and be an example in future, how to bring essence from the oldest musical instruments with its historical and cultural background.
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