The 12th century polymath Hemchandra defined Akhyana in his Kavyanusashana as a side story from religious texts narrated by Granthika (professional storyteller) to instruct audience accompanied by singing and acting.
Dolarrai Mankad defined it as a form of poetry with musical components and scope of acting.
They wore silver or copper rings on their fingers which were used to sound the beats on overturned copper-made water pitcher or large globular metal pot having a narrow mouth and bloated mid-part.
[1][2][3] Further musical accompaniment was provided by cymbals (jhanjh), barrel drum (pakhavaj), tabla, and harmonium.
It is a form of enactment of religious episodes from mythological stories as well as epics like Ramayana, Mahabharata and Bhagavata.
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).
[1] 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.
The audience were promised with benefits like eradication of all sins, moksha, end of bodily ailments, child births, wealth.
The 15th century poet, Bhalan wrote large number of Akhyanas including the popular one, Nalakhyan depicting story of Nala-Damayanti.