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'''Akhyana''' was a traditional musical [[theatre]] as well as medieval genre of [[Gujarati language|Gujarati]] poetry and [[Rajasthani language|Rajasthani]] poetry.<ref name=ag>{{cite book|last=Datta|first=Amaresh|title=Encyclopaedia of Indian Literature|year=1987|publisher=Sahitya Akademi|isbn=8126018038|url=https://books.google.com/books?id=ObFCT5_taSgC|pages=28, 29, 121–122}}</ref> It was primarily practiced in [[Gujarat]] and [[Rajasthan]] states of India.

==Etymology and definition==
''Akhyana'' literally means ''to tell'' or ''narrate'' in [[Sanskrit]]. The 12th century polymath [[Hemchandra]] defined Akhyana in his ''Kavyanusashana'' as a side story from religious texts narrated by Granthika (professional story teller) to instruct audience accompanied by singing and acting. This definition does not include the narration of other non-mythological stories like that of [[Narsinh Mehta]]. In general, Akhyana can be defined as the stories narrated by story teller for religious instructions to audience accompanied by singing and acting. [[Dolarrai Mankad]] defined it as a form of poetry with musical components and scope of acting.<ref name=ag/>

==Akhyana==
===Performer===
The narrator or professional storytellers who recited Akhyanas were called [[Manbhatt|Manabhatt]] or Gagaria-bhatt. They set poetry to musical tunes and do mono acting. They wore silver or copper rings on their fingers which were used to sound the beats on overtuned copper-made water pitcher or large globular metal pot having a narrow mouth and bloated mid-part. ''Mana'' or ''Gagar'' literally means pot in Gujarati.<ref name=ag/><ref name=ms>{{cite book|last=Mukherjee|first=Sujit|title=A Dictionary of Indian Literature: Beginnings-1850|year=1999|publisher=[[Orient Blackswan]]|isbn=8125014535|url=https://books.google.com/books?id=YCJrUfVtZxoC&pg=PA11}}</ref><ref name="India Today2004">{{cite web | title=Dharmiklal Pandya struggles to save dying art of Gujarat Manbhat Akhyan | website=India Today 12012004 | date=12 January 2004 | url=http://indiatoday.intoday.in/story/dharmiklal-pandya-struggles-to-save-dying-art-of-gujarat-manbhat-akhyan/1/196824.html | accessdate=12 June 2016}}</ref> Further musical accompaniment was provided by [[cymbal]]s (''jhanjh''), [[barrel drum]] (''pakhavaj''), [[tabla]], and [[Pump organ|harmonium]].

Akhyana were recited by Manabhatts belonged to [[Brahmin]] caste only thus the Akhyana authored by the person of other castes were given to them for recitation. [[Nakar]] is recorded as one such non-Brahmin, Bania caste author in medieval [[Gujarati literature]].<ref name=ag/> They chiefly belonged to south Gujarat.

===Subjects===
It is a form of enactment of religious episodes from mythological stories as well as [[epic (genre)|epic]]s like [[Ramayana]], [[Mahabharata]] and [[Bhagavata]]. Sometimes non-mythological stories of religious devotees like [[Narsinh Mehta]] were also enacted.<ref name=ag/><ref name=ms/>

===Form===
Akhyana are divided in several stanzas called ''Kadavun''. ''Kadavun'' is derived from Sanskrit word, ''Kadavak'' which means 'derived from the conglomeration of lines in different musical tunes and metres'. ''Kadavun'' or the [[recitation]] has three parts: ''Mukhabandh'' (introduction or preamble), ''Dhal'' (narration) and ''Valan'' (Summary). ''Mukhabandh'' is a first two lines which introduces the subject or incident of narration. ''Dhal'' is a narration of incident in detail. ''Valan'' are the last two lines, first describing summary of incident narrated and second the incident to be narrated. All Akhyanas are narrated in these three part ''Kadavun''. Sometimes when emotions are intense, ''Pada'' form is used between narrative and descriptive parts of Akhyana.<ref name=ag/>

As Akhyana is closely related with religious poetry, it begins with obeisance to [[Ganesha]], the god who removes all obstacles, followed by [[Saraswati]], the goddess of learning. After this, the narrator introduced the incident to be narrated taken from mythologies, epics or lives of devotees. After narration, at the end, the narrator cites [[Colophon (publishing)|colophon]]. The colophon includes the name of author, the date of composition, and some autobiographical information like his residence or place, his father's name or preceptor, information about his family. The poem ends with one or more than one ''Falashruti'', the material benefits of hearing Akhyana. It is added for the purpose of attracting audience. The audience were promised with benefits like eradication of all sins, [[moksha]], end of bodily ailments, child births, wealth. For giving authority to the story, sometimes the original source of story and even cantos were declared. Though the stories are taken from epics and mythologies, sometimes the stories were presented in different manner to entertain the audience. They were tweaked to include the customs and culture of the time to make them contemporary. All Akhyana ends with happy note as seen in Sanskrit theatre tradition.<ref name=ag/>

The length of Akhyana varied greatly, like ''Sudamacharit'' which lasts three to four hours when recited to ''[[Nalakhyan]]'' which was recited to several days.<ref name=ag/><ref name="India Today2004"/>

==History==
Akhyana is described as form of poetry in the 12th century work of [[Hemchandra]], ''Kavyanusashana''. The 15th century poet, [[Bhalan]] wrote large number of Akhyanas including the popular one, ''Nalakhyan'' depicting story of [[Nala]]-[[Damayanti]]. ''Kunwarbainu Mameru'' related to life of [[Narsinh Mehta]] was also very popular. [[Nakar]] of 16th century was one of few non-Brahmin author. [[Bhoja Bhagat]] and [[Shamal Bhatt]] (17th century) wrote several Akhyana. Veerji (17th century) wrote ''Balirajanu Akhyan'' based on story of [[Mahabali]]. The Akhyana reached it peak during 16th-17th century. One of the most popular exponents of the art during the time was [[Premanand Bhatt]]. He wrote ''Okhaharan'' based on [[Aniruddha]]-Usha story.<ref name=ag/><ref>{{cite book|last=Dalal|first=Roshen|title=Hinduism: An Alphabetical Guide|pages=17|url=https://books.google.com/books?id=DH0vmD8ghdMC}}</ref> It was an important fixture in the religious lives of middle-class Gujaratis for several hundred years. The trend continued to decline thereafter and became almost extinct by 19th century.<ref name="India Today2004"/> Later some Gujarati poets of modern times like [[Balmukund Dave]] wrote Akhyana as genre of poetry but the performance of Akhyana was never revived. Now it is performed by the groups of Surendranagar and other Saurashtra's small town.<ref>{{cite web|url=http://indiatoday.intoday.in/story/dharmiklal-pandya-struggles-to-save-dying-art-of-gujarat-manbhat-akhyan/1/196824.html|title=Singing a Lost Tune|last=Mahurkar |first=Uday|date=12 January 2004|publisher=[[India Today ]]|accessdate=17 February 2010}}</ref>

==References==
{{Reflist}}

==External links==
* [https://gu.wikisource.org/wiki/નળાખ્યાન ''Nalakhyan'' on Gujarati Wikisource]

[[Category:Theatre in India]]
[[Category:Gujarati literature]]
[[Category:Genres of poetry]]
[[Category:Cultural history of Gujarat]]

Akhyana - Revision history

>Gazal world at 18:09, 25 May 2020