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 oral traditions of earlier Odia folk songs used in dances like the Ghoda-nacha (Horse Dance), Dandanacha and Sakhinacha (Puppet Dance). A characteristic feature of these songs is that each line does not have an equal number of letters, but the last letter of both lines produces the same sound.