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too an an a i by its its of of in t l a a s ' PARIPEX - INDIAN JOURNAL OF RESEARCH Volume-8 | Issue-3 | March-2019 | PRINT ISSN No - 2250-1991 One of the six classical dance forms of India is the Odissi dance of 7. Mahapatra, G.N.: Jagannath in History and Religious Tradition, Calcutta, 1982. 8. Mahapatra, K.N.: Antiquity of Jagannath Puri as a place of pilgrimage, OHRJ, Vol. Odisha. With its origins in the temples and performed by the III, No.1, April, 1954. , Odissi is a sensuous performing art set to soulful music. Usually portraying the Divine and Infinite love of Lord Krishna and Radha, Odissi dance is distinct from other classical dances of India in its costumes, music, rhythm, and style. Graceful and feminine, it is marked by Bhangis and Mudras .

Musical instruments used in are few in number. Some of the basic instruments which have been used in Odissi Music are the Ravan Hashta, the Harmonium, and the or . Nowadays, a number of instruments are being replaced, like the Violin is being used instead of the Ravan Hashta. The (a string instrument) is used by all the three streams of mainstream classical music- Odissi, Hindustani as well as . But one instrument which stands out among all as typical and irreplaceable both in case of Odissi dance and Odissi music is the . Further details of this typically Odissi instrument are given below.

In Odissi Sangeet Sastras it is mentioned that among all the skin percussions Mardala is the best. Its description is found in Charyagiti and various Sastras and Kavyas of medieval Odisha. In all Odishan temples also one finds the sculpture of Mardala players. Mardalavadini (the woman Mardala player) of Konark is famous. It is played during various Sevas (services) of Lord Jagannath. It is played as an accompaniment both in as well as dance.

Odisha is also the seat of a huge variety of folk dances—namely from the of Odisha, animal mask dance Medha Nacha, , Changu Dance and the Karma dance, Chaitighoda or the horse dance, Baunsa rani the bamboo dance, and . These are some of the more popular folk dance forms of Odisha practiced even today.

Mardal, the traditional percussion of Odisha, has a distinctive character of its own in its size, shape and mode of playing. its distinctive sound patterns and subtlety in resonance have established its own identity .Mardal is used as an inevitable musical instrument in the ritualistic service by Mardal players (Madeli seva)in the temple of Lord Jagannath. For Odissi classical dance and music Mardal is an inspirable percussion . it has now endeared common people sans art connoisseurs and craved its own niche in the realm of Indian classical instrumental music.

Odissi mardala more or less resembles but there is also a difference both in terms of construction and technique. The Mardala which is originally used in the Jagannath Temple is simple in construction and there is no mechanism in it to adjust the pitch. Simhari Shyamsundar Kar added 'Gotakas' to this simple Mardala so that it can be tuned as per need. In Pakhavaj, for example on the left side a layer of flour is given while in Mardala there is Kiran. As regards to practice and technique the Vaani or Ukuta, Khandi, Gadi Arassa in Mardala are different from those in Pakhavaj. Especially, the Chanti and movement of fingers are quite different in Mardala.

Till now Mardala is played mostly as an accompaniment of Odissi dance. Solo Mardala playing has not yet been very popular as stage performance. like Mahadev Rout, Chakradhar Sahoo, Harmohan Khuntia, Banmali Maharana, and Sachidananda Das are trying to make solo playing, dual playing and Jugalbandi of Mardala popular. The famous Odissi dance and Odissi music Guru Simhari Shyam Sunder were also famous as Mardala players.

REFERENCES 1. Das, M.N. (ed.): Sidelights on History and Culture of Orissa, , 1977. 2. Das, Suryanarayan: Jagannath Through the Ages, Sanbun Publishers, New Delhi. 2010 3. Eschmann, A., H. Kulke and G.C. Tripathi (Ed.): The Cult of Jagannath and the Regional Tradition of Orissa, 1978, Manohar, Delhi. 4. Hunter, W.W. Orissa: The Vicissitudes of an Indian Province under Native and British Rule, Vol. I, 1872. 5. Kulke, Hermann in The Anthropology of Values, Berger Peter (ed.): Yayati Kesari revisted, Dorling Kindrsley Pvt. Ltd., (2010). 6. Mohanty, A. B. (Ed.): , Utkal University, Bhubaneswar, 2001. www.worldwidejournals.com 35