His work can be seen as adapting the popular oral conventions of earlier Odia folk songs which were used in folk dances such as the Ghoda-nacha (Horse Dance), Dandanacha and Sakhinacha (Puppet Dance). One metrical peculiarity of these songs is that both the lines of a verse do not contain an equal number of letters though the last letters of both the lines produce the same sound.
His work can be seen as incorporating the traditional oral customs of earlier Odia folk songs, which were employed in folk dances such as the Ghoda-nacha (Horse Dance), Dandanacha and Sakhinacha (Puppet Dance). One characteristic feature of these songs is that both lines of a verse do not have an equal number of letters; however, the last letters of both lines produce the same sound.