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Mardala
Mardala (Odia: ମର୍ଦ୍ଦଳ, romanized: Mardaḷa, Odia: [mɔrd̪d̪ɔl̪ɔ] ⓘ) is a classical percussive instrument native to the east Indian state of Odisha, traditionally used as the primary accompaniment in Odissi classical music. The instrument is slightly different from other instruments (like Madal, Mridangam, etc.) that might have similar names in the Indian subcontinent due to its unique construction, acoustic features and traditional playing technique.
The Mardala is used in a wide range of traditional art forms of Odisha, including Gotipua, Mahari, Odissi dance, Bhagabata Tungi, Sakhi Nata, Prahallada Nataka, Ramalila, Krusnalila, Rama Nataka, Sahi Jata, Medha Nacha, Bharata Lila, Bhutakeli Nata, Odisi Kirtana and more.
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.
Out of these four, the Mardala falls under the category of anaddha vadyas or drums. Raghunatha Ratha, an ancient musicologist of Odisha extols the Mardala in his treatise, the Natya Manorama as:
ānaddhe marddaḻaḥ śreṣṭho
yatastallakṣaṇaṃbrube /
Among the membranophones,
Mardala is the superlative.
Herefrom I narrate its features.
The 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 ruler. The Mardala used to be the accompanying instrument to the Mahari dance, the ancestor of present-day 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 Mukteswara and 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.
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Mardala
Mardala (Odia: ମର୍ଦ୍ଦଳ, romanized: Mardaḷa, Odia: [mɔrd̪d̪ɔl̪ɔ] ⓘ) is a classical percussive instrument native to the east Indian state of Odisha, traditionally used as the primary accompaniment in Odissi classical music. The instrument is slightly different from other instruments (like Madal, Mridangam, etc.) that might have similar names in the Indian subcontinent due to its unique construction, acoustic features and traditional playing technique.
The Mardala is used in a wide range of traditional art forms of Odisha, including Gotipua, Mahari, Odissi dance, Bhagabata Tungi, Sakhi Nata, Prahallada Nataka, Ramalila, Krusnalila, Rama Nataka, Sahi Jata, Medha Nacha, Bharata Lila, Bhutakeli Nata, Odisi Kirtana and more.
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.
Out of these four, the Mardala falls under the category of anaddha vadyas or drums. Raghunatha Ratha, an ancient musicologist of Odisha extols the Mardala in his treatise, the Natya Manorama as:
ānaddhe marddaḻaḥ śreṣṭho
yatastallakṣaṇaṃbrube /
Among the membranophones,
Mardala is the superlative.
Herefrom I narrate its features.
The 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 ruler. The Mardala used to be the accompanying instrument to the Mahari dance, the ancestor of present-day 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 Mukteswara and 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.