that might have similar names in the Indian subcontinent due to its unique construction, acoustic features and traditional playing technique.

[4] 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,[5] Ramalila, Krusnalila, Rama Nataka, Sahi Jata, Medha Nacha, Bharata Lila, Bhutakeli Nata, Odisi Kirtana and more.

Raghunatha Ratha, an ancient musicologist of Odisha extols the Mardala in his treatise, the Natya Manorama as:[8]

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.

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.

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.

Traditionally, there are ten vital features of tala that are taken care of : The kriyas are either nisabda, that is without-sound or sasabda, with sound.

[9] The sabda-swara pata, a traditional component based on the Mardala's beats was integrated into Odissi dance by Guru Deba Prasad Das.

[10] Though several hundred talas are defined in treatises, some are more common : ekatāli, khemaṭā or jhulā, rūpaka, tripaṭā, jhampā, āḍatāli, jati, āditala, maṭhā.

[12] The solo performances follow a specific rule or pranali : starting with a jamana, then proceeding onto chhanda prakarana, ragada, etc.

Guru Banamali Maharana had established an institute called 'Mardala Academy' in Bhubaneswar, the state capital.

Ensembles of traditional musical instruments of Odisha with the mardala taking the lead have also been conceptualised and executed.