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{{Infobox Instrument|name=Mardala|names=Odissi Mardala|image={{Photomontage
| photo1a = Odissi Mardala 5.jpg
| photo2a = Odissi Mardala 6.jpg
| photo2b = Odissi Mardala 1.jpg
| size = 350
| border = 0
| spacing = 0
| color = #ffffff
}}|image_capt=Various views of a Mardala|background=percussion|hornbostel_sachs=211.222.1|hornbostel_sachs_desc=[[Membranophone]] directly struck by hand|developed=|range=|related=|musicians=Adiguru Singhari Shyamsundar Kar, Guru [[Kelucharan Mahapatra]], Guru Mahadeba Rout, Guru [[Banamali Maharana]], Guru Dhaneswar Swain, Guru Sachidananda Das|builders=|articles=[[Odissi music]]|sound sample=|volume=medium}}

'''Mardala''' ([[Odia script|Odia]] : ମର୍ଦ୍ଦଳ) is a percussive instrument native to the east Indian state of Odisha. It is traditionally used as the primary percussive instrument in the ancient classical music of the state, [[Odissi music]].<ref name=":1">{{Cite book|last=Parhi|first=Dr. Kirtan Narayan|title=The Classicality of Odishi Music|publisher=Maxcurious Publications Pvt. Ltd.|year=2017|isbn=9788193215128|location=India|pages=383}}</ref><ref name=":2">{{Cite book|last=Patnaik|first=Kabichandra Dr. Kali Charan|title=A Glimpse into Orissan Music|publisher=Government of Orissa|location=Bhubaneswar, Odisha|pages=2}}</ref><ref>{{Cite book|last=Pani|first=Jiwan|title=Back to the Roots : Essays on Performing Arts of India|publisher=Manohar|year=2004|isbn=8173045607|location=New Delhi|author-link=Jiwan Pani}}</ref> The instrument is different from other instruments that might have similar names in the Indian subcontinent due to its unique construction, acoustic features and traditional playing technique.<ref>{{Cite journal|last=Mohanty|first=Gopinath|date=August 2007|title=Odissi - The Classical Music|journal=Orissa Review|publisher=Culture Department, Government of Orissa|pages=108–111}}</ref>

The Mardala is used in a wide range of traditional art forms of Odisha, including [[Gotipua]], Mahari, [[Odissi|Odissi dance]], Bhagabata Tungi, Sakhi Nata, [[Prahallada Nataka]],<ref>{{Cite book|last=Pani|first=Jeevan|title=Performing Arts of Orissa|publisher=Prafulla Publication|year=2007|isbn=978-8190358880|location=Kolkata}}</ref> Ramalila, Krusnalila, Rama Nataka, Sahi Jata, Medha Nacha, [[Bharata Lila]], Bhutakeli Nata, Odisi Kirtana and more.<ref name=":3">{{Cite news|last=Vidyarthi|first=Nita|date=6 February 2014|title=His own beat|work=The Hindu|url=https://www.thehindu.com/features/friday-review/music/his-own-beat/article5660641.ece|access-date=28 July 2020}}</ref><ref>{{Cite journal|last=Rath|first=Shantanu Kumar|editor-last=Mishra|title=Odia Lokanatakaku Ganjamara Abadana|trans-title=Role of Ganjam in Odisha's performing art traditions|journal=Rangabhumi|language=or|location=Bhubaneswar|publisher=Odisha Sangeet Natak Akademi, Department of Culture, Government of Odisha|volume=9|pages=52–64}}</ref>

== History ==
Odishan musicologists in ancient treatises have mentioned four distinct kinds of instruments or ''vadyas'' : ''tat'' or stringed instruments, ''susira'' or wind instruments, ''anaddha'' or leather instruments / drums & finally ''ghana'' or metallic instruments.<ref name=":1" />

Out of these four, the Mardala falls under the category of ''anaddha vadya''s or drums. Raghunatha Ratha, an ancient musicologist of Odisha extols the Mardala in his treatise, the ''Natyamanorama'' as:<ref name=":0">{{Cite book|last=Ratha|first=Raghunatha|title=Natyamanorama|publisher=Odisha Sangeet Natak Akademi|year=1976|editor-last=Patnaik|editor-first=Kali Charan|location=Bhubaneswar, Odisha|language=sa}}</ref>
{{Verse translation|ānaddhe marddaḻaḥ śreṣṭho
yatastallakṣaṇaṃbrube /|Among the membranophones,
Mardala is the superlative. 
Herefrom I narrate its features.|lang=sa-latn|attr1=|attr2=}}
The [[Jagannath Temple, Puri|Jagannatha temple]] of Puri has for centuries had a Mardala servitor. This was known as the 'Madeli Seba' and the percussionist was ritually initiated into the temple by the [[Gajapati Kingdom|Gajapati]] ruler. The Mardala used to be the accompanying instrument to the [[Devadasi|Mahari]] dance, the ancestor of present-day [[Odissi|Odissi dance]], one of the major classical dance forms of India.

In hundreds of Kalingan temples across the state of Odisha, including famous shrines such as [[Mukteshvara Temple, Bhubaneswar|Mukteswara]] and [[Konark Sun Temple|Konarka]], the Mardala features prominently, usually in a niche of an ''alasakanya'' playing the instrument. There is a pose by the name ''mardalika'' replicating the same stance in Odissi dance.

== Construction ==

=== Wood ===
{{multiple image
| align = right
| image1 = Konark Mardal Player (cropped).jpg
| width1 = 
| alt1 = 
| caption1 = A lady playing Mardala in a frieze at the Sun Temple of Konark
| image2 = Natambara from Konarka in National Museum Delhi (cropped).JPG
| width2 = 
| alt2 = 
| caption2 = An image of dancing Shiva (Natambara in Odisha parlance). Notice a mardala player in the bottom left corner, observing Shiva's footsteps to replicate the rhythm. The mardala depicted is identical to the instrument in use to this date.
| footer = 
| direction = 
| total_width = 600
| image3 = Posture of Playing Mardala in Gotipua Dance by Bibhuti Bhusan Champati.jpg
| caption3 = Mardala playing (Madeli) stance in Gotipua
}}
All woods are not suitable for constructing the Mardala. According to treatises, the ideal Mardala is made of ''khadira'' (''khaira'') or the wood of ''[[Acacia catechu]]''. The wood of ''raktachandana'' is also spoken of highly owing to its deep resonance. Other woods such as ''nimba'', ''mahalimba'' and ''gambhari'' are also used.<ref name=":2" /> An instrument fashioned from the aforesaid woods is considered ''uttama'', whereas an instrument made from the wood of jackfruit is considered ''adhama''.<ref name=":0" />

=== Measurements ===
''Natyamanorama'' ordains the Mardala to be about one and a half cubits long. The left face must be between twelve and thirteen ''angula''s and the right face half or one ''angula'' less than the left face.<ref name=":1" /><ref name=":0" />

=== Making ===
The process of making a Mardala is described in detail in the ''Natyamanorama.'' The Mardala is thicker at the middle than its ends. A paste called ''kharali'' is applied on the playing face of the Mardala in a round shape. The preparation of ''kharali'' is a time-consuming and delicate process, requiring the ingredients of ''paunsa'' (ash), ''geru'' (red chalk), ''bhata'' (boiled rice), ''chuda'' (flattened rice), ''harida'' (fruit of black myrobalan tree) and sour gruel. This is applied to the right face of the Mardala. The ''purika'' is applied on the left face to produce a pleasant sound. The preparation of the ''purika'' uses ''bhata'' (boiled rice), ''lia'' (blown rice) or ''paunsa'' (ash).<ref name=":1" /> Once done, the instrument is sun-dried. Once dried, the paste is reapplied and again sundried, and this process is repeated for at least twelve times before adjudging the ''shruti'' (tone) of the instrument. Then the instrument is tied strongly with ''pata-suta'' or leather strips and ready to be played.<ref name=":0" />

== Repertoire and technique ==
{{Odissi Classical Music sidebar}}The playing of the Mardala is based on the ''tala-paddhati'' or rhythmic system of [[Odissi music]]. A [[Tala (music)|tala]] is a rhythmic structure in Indian music. The ''tala''s in use in Odissi music are distinctive, and are not found in other systems of Indian music.<ref name=":2" /> The playing of the instrument follows a strict classical grammar.

Traditionally, there are ten vital features of tala that are taken care of :

#''kāla'' or beats
#''mārga'' or inter-beat transitions
# kriyā or hand movements
#''anga''
#''graha''
#''jāti''
#''kalā''
#''laya''
#''jati''
#''prastāra''

The kriyas are either ''nisabda'', that is without-sound or ''sasabda'', with sound. The ''nisabda'' or soundless kriyas are demonstrated by four types of motions ; there is no stroke. The ''sasabda'' or sounded kriyas are created by striking a membrane. Apart from these, there are eight ''desi-kriya''s.<ref name=":1" /> The regional terminology used in the Mardala's context are ''kalā, ansā, māna, aḍasā, bhaunri, bhaunri aḍasā, tāli, khāli, phānka, bāṇi, ukuṭa, pāṭa, chhanda, bhangi,'' etc.<ref>{{Cite book|last=Hota|first=Dr. Damodar|title=Sangita Sastra|publisher=Swara-Ranga|year=2005|edition=2|volume=1|location=Bhubaneswar|pages=90–100|language=or|author-link=Damodar Hota}}</ref> The ''sabda-swara pata'', a traditional component based on the Mardala's beats was integrated into Odissi dance by Guru [[Deba Prasad Das]].<ref>{{Cite news|last=Chakra|first=Shyamhari|date=3 November 2016|title=Celebrating an alternate style of Odissi|work=The Hindu|url=https://www.thehindu.com/features/friday-review/Celebrating-an-alternate-style-of-Odissi/article16091714.ece|access-date=28 July 2020}}</ref>

Though several hundred talas are defined in treatises, some are more common : ''ekatāli, khemaṭā'' or ''jhulā, rūpaka, tripaṭā, jhampā, āḍatāli, jati, āditala, maṭhā''.<ref>{{Cite book|last=Hota|first=Dr. Damodar|title=Udra Paddhatiya Sangita|publisher=Swara-Ranga|year=2012|volume=2|location=Bhubaneswar|pages=18–19|language=or|author-link=Damodar Hota}}</ref> Other talas that are also used are ''nihsāri'', ''kuḍuka, duāḍamāna, sarimāna, upāḍḍa, paḍitāla, pahapaṭa, aṭṭatāla, āṭhatāli'' and ''jagannātha.'' The talas have a characteristic swing that is typical of and universally found in Odissi music. The details of some major talas are listed below.<ref name=":1" />
{| class="wikitable"
!
!Tala
!Matra
!Bibhaga
!Chhanda
|-
|1
|''ekatāli''
|4
|1
|4
|-
|2
|''khemaṭā''
|6
|2
|3 + 3
|-
|3
|''rūpaka''
|6
|2
|2 + 4
|-
|4
|''tripaṭā''
|7
|3
|3+ 2 + 2
|-
|5
|''jhampā''
|10
|4
|2 + 3 + 2 + 3
|-
|6
|''āḍatāli''
|14
|4
|4 + 3 + 4 + 3
|-
|7
|''jati''
|14
|4
|3 + 4 + 3 + 4
|}[[File:Singhari Shyamasundar Kar.jpg|thumb|Adiguru Singhari Shyamasundar Kar, who spearheaded a revival of traditional Mardala playing techniques of the Jagannatha temple|345x345px|alt=|left]]

=== Padi ===
An exclusive technique called ''paḍi'' is frequently employed in traditional Odissi songs. This is composed within the fixed prosody of the respective song. The padi is repeated in several different talas, layas and from different matras. Kabichandra Dr. Kali Charan Patnaik calls this feature 'the lifeline of Odissi music'.<ref name=":2" />

== Gurus ==
{{multiple image
| align = right
| image1 = A still of Shri Banamali Maharana who will be presented with the Sangeet Natak Akademi Award for Odissi Music - Orissa by the President Dr. A.P.J Abdul Kalam in New Delhi on October 26, 2004.jpg
| width1 = 
| alt1 = 
| caption1 = Guru Banamali Maharana, who received a 2004 Sangeet Natak Akademi Award for his contribution to Odissi Music and the Mardala
| image2 = Pt. Guru Mahadev Raut With Mardala.jpg
| width2 = 
| alt2 = 
| caption2 = Guru Mahadeba Rout, recipient of Odisha Sangeet Natak Akademi Award and 'Pandita' epithet from the Government of Odisha
| footer = 
| direction = 
| total_width = 500
}}

The Mardala is intimately associated with the Jagannatha temple and thus has a very esteemed position in the culture of Odisha. Many Gurus have worked for carrying forward the legacy of the instrument. Adiguru Singhari Shyamasundar Kar, Guru [[Banamali Maharana]], Guru Padmanabha Panda, Guru Basudeba Khuntia, Guru Mahadeba Rout, Guru Narayana Mahapatra, Guru Banamali Maharana and Guru [[Kelucharan Mohapatra|Kelucharan Mahapatra]] were among the great Gurus of Mardala in the 20th century.

Guru Rabinarayan Panda, Guru Jayadeba Giri, Guru Janardana Dash, Guru Dhaneswar Swain, Guru Sachidananda Das, Guru Bijaya Kumar Barik, Guru Jagannath Kuanr are among modern-day exponents of the Mardala. Many veteran Gotipua masters have also excelled in the Mardala : Guru Birabara Sahu, Guru Lingaraj Barik, Guru Maguni Das and others. [[File:Guru Dhaneswar Swain Playing Mardala (3).jpg|thumb|323x323px|Guru Dhaneswar Swain, recipient of [[Sangeet Natak Akademi Award]] in the year 2013 for his contribution to Odissi Music and Mardala|alt=]]

=== As a solo instrument ===
The role of the Mardala as a solo instrument has been presented for the last few decades with great success, apart from its better-known role as an accompaniment in the ensemble for Odissi music and dance.<ref>{{Cite news|last=Chakra|first=Shyamhari|title=Moment of victory for Odissi Mardal|work=The Samikshya|url=https://thesamikhsya.com/culture/moment-of-victory-for-odissi-mardal|access-date=4 September 2020}}</ref> The solo performances follow a specific rule or ''pranali'' : starting with a ''jamana'', then proceeding onto ''chhanda prakarana'', ''ragada'', etc.<ref name=":3" /> Guru [[Dhaneswar Swain]], the first solo Mardala player who have presented a solo performance on [[Mardala]] under the able guidance of Guru [[Banamali Maharana]] at Rabidra Mandap, [[Bhubaneswar]] which was very first of its kind.  

=== Training ===
Two state government institutions impart training in Mardala : [[Utkal Sangeet Mahavidyalaya]]<ref>{{Cite web|title=Courses offered|url=http://www.usmodisha.com/Course_offer.aspx|access-date=26 July 2020|website=Utkal Sangeet Mahavidyalaya}}</ref> and [[Utkal University of Culture]].<ref>{{Cite web|title=Under Graduate Departments|url=http://uuc.ac.in/?page_id=765|access-date=26 July 2020|website=Utkal University of Culture}}</ref> Undergraduate, postgraduate degrees are offered. Many private institutions also impart training. Guru Banamali Maharana had established an institute called 'Mardala Academy' in Bhubaneswar, the state capital.<ref>{{Cite web|date=17 Nov 2018|title=Mardal maestro Banamali Maharana passes away|url=https://www.outlookindia.com/newsscroll/mardal-maestro-banamali-maharana-passes-away/1423426|website=Outlook India}}</ref> Ramahari Das Odissi Gurukul at Biragobindapur, Sakhigopal also offers training in Mardala<ref>{{Cite web|title=Training : About Mardal|url=http://www.odissigurukul.org/about-mardal.html|website=Ramahari Das Odissi Gurukul}}</ref><ref>{{Cite news|last=Vidyarthi|first=Nita|date=17 October 2013|title=Raising his voice|work=The Hindu|url=https://www.thehindu.com/features/friday-review/music/raising-his-voice/article5244087.ece|access-date=28 July 2020}}</ref> under Guru Dhaneswar Swain, who also has his own institute called 'Vadya Vani Gurukul' which specialises in traditional percussion instruments of Odisha. Ensembles of traditional musical instruments of Odisha with the mardala taking the lead have also been conceptualised and executed.<ref name=":3" />

<gallery mode="packed" widths="200" heights="200" caption="Eminent Gurus of Odissi Mardala">
File:Guru Birabara Sahoo Playing Mardala.jpg|Guru Birabara Sahu, veteran Gotipua exponent
File:Guru Basudev Khuntia Playing Mardala.jpg|Guru Basudeba Khuntia

File:Guru Rabi Narayan Panda Playing Mardala 3.png|Guru Rabinarayan Panda
File:Guru Maguni Das Playing Mardala.jpg|Guru Maguni Das, veteran Gotipua exponent
File:Guru Janardan Dash playing Mardala.png|Guru Janardana Dash
File:Guru Niranjan Patra Odissi Mardala.jpg|Guru Niranjan Patra
File:Guru Sachidananda Das plays the Odissi mardala.jpg|Guru Sachidananda Das, Odisha Sangeet Natak Akademi awardee
File:Guru Bijaya Kumar Barik plays the Odissi Mardala.jpg|Guru Bijaya Kumar Barik
File:Jagannath Kuanr playing Odissi mardala.jpg|Guru Jagannath Kuanr
File:Guru Chintamani Raut Playing Mardala 2.jpg|Guru Chintamani Raut
File:Guru Maheswar Mohapatra playing Mardala 1.jpg|Guru Maheswar Mohapatra
File:Guru Sarat Kumar Samantaray playing Mardala (cropped).jpg|Guru Sarat Kumar Samantaray
File:Guru Dr. Gouranga Charan Mahala Playing Mardala.jpg|Guru Gouranga Charan Mahala
File:Guru Dibakar Parida Playing Mardala.jpg|Guru Dibakar Parida
</gallery>

== See also ==

* [[Odissi music]]
* [[Odissi|Odissi dance]]
* [[Gotipua]]
* [[Prahallada Nataka]]
* [[Dhaneswar Swain]]

== References ==
<references />{{Odia culture}}{{Indian musical instruments|state=autocollapse}}

[[Category:Indian musical instruments]]
[[Category:Odia culture]]
[[Category:Odissi music]]