Reflect and Respond
I. Does anyone in your family use a hand fan? What do you call it in your language? What is it made of?
Ans (Sample): Yes, my grandmother uses a hand fan during the summer. In Hindi and Punjabi, it is called a pankha. Our pankha is crafted from woven moonj grass with a wooden handle and has been passed down from my great-grandmother.
II. Study the pictures and complete the information.
III. Match the underlined words in Column 1 with their meanings in Column 2.
Check Your Understanding
I. Complete the table on pankha.
Critical Reflection
I. Read the extracts given below and answer the questions that follow.
Extract 1:
Over time, pankhas became significant cultural goods distributed through trade routes. They were considered exotic and stylish. Although there was substantial commonality in their use across India, different villages and towns developed their own varieties of traditional pankhas. Each place developed pankhas with distinct materials or a variety of intricate designs, that set them apart from one another.
(i) State whether the following sentence is true or false:
Pankhas were one of the most popular items of commerce.
Ans: False. The extract says pankhas became “significant cultural goods distributed through trade routes” — it does not claim they were the most popular items of commerce overall.
(ii) Why has the word ‘traditional’ been used to describe pankhas?
Ans: The term ‘traditional’ is used because pankhas have been crafted and utilized in India for centuries, with their designs, materials, and techniques transmitted across generations. They embody a longstanding cultural heritage rooted in the practices and aesthetics of each local community, distinguishing them from mass-produced or modern items.
(iii) Complete the following statement.
The sentence ‘They were considered exotic and stylish’ is an opinion and not a fact because _______________.
Ans: …because it conveys a subjective judgment regarding people’s perceptions rather than an objectively verifiable claim. The terms “exotic” and “stylish” are evaluative and depend on the observer’s viewpoint, making them unmeasurable and unprovable, unlike facts that can be confirmed with evidence.
(iv) Infer one reason for commonality in the use of pankhas across India.
Ans: India’s hot climate creates a universal need for fans across all regions. Prior to the advent of
electric fans and air conditioning, hand fans represented the simplest and most accessible cooling tool. This necessity was shared by people of all geographies, cultures, and social classes, resulting in the widespread use of pankhas throughout the country.
(v) Select which one of the two statements is the correct assertion for the given reason.
Reason: Pankhas were made of indigenous materials, unique to the region, with elaborate designs.
A. Each kind of pankha could be distinguished from the other.
B. Pankhas were used by many people.
Ans: A. Each pankha utilized different local materials and distinct craftsmanship, making it possible to distinguish a Rajasthani zardozi fan from a Gujarati mirror-work fan or a Bengali sola fan. Assertion B is not logically supported by the stated reason.
Extract 2:
With time and the advent of technology and innovative creations, the beautiful culture of pankhas runs the risk of slowly losing its presence among Indians. Once made for personal use, over time this handicraft has transformed into a commercial business and now provides some form of livelihood to India’s artisans. The slight increase in popularity and demand is significantly factored by the different versions of the pankha being crafted.
(i) Infer one negative impact of technological advancement on pankha.
Ans: The widespread availability of electric fans, air coolers, and air conditioners has significantly reduced the everyday need for hand fans. As pankhas were originally intended for cooling, modern devices have rendered them functionally redundant in most households, decreasing demand and limiting the number of artisans able to sustain a livelihood through this craft.
(ii) Complete the statement with an appropriate reason.
The writer refers to ‘pankhas’ not just as an object but as a ‘culture’ because ___________.
Ans: …because pankhas encapsulate the history, traditions, artistic identity, and values of the communities that produce them. Each pankha reflects a region’s unique materials, designs, and craftsmanship, serving as a living expression of cultural heritage rather than merely a utilitarian object. The loss of pankhas results in the disappearance of an entire tradition of knowledge, artistry, and community identity.
(iii) Select a line from the extract which depicts how the role of the pankha has changed over the years.
Ans: “Once made for personal use, over time this handicraft has transformed into a commercial business and now provides some form of livelihood to India’s artisans.” This line illustrates the evolution of the pankha from a personal domestic utility to a commercial product, indicating a shift in its function from providing cooling to supporting artisans economically.
(iv) List one way in which the increase in demand of pankhas might benefit artisans.
Ans: Increased demand provides artisans with a more stable and sustainable source of income, encouraging them to continue practicing their craft, invest in higher-quality materials, and transmit their skills to the next generation. This creates a positive cycle of economic viability and cultural preservation.
(v) Select the factor that has contributed to the commercialisation of pankhas.
A. cultural preservation
B. economic demand
C. technological advancements
D. artisan initiative
Ans: B. economic demand. The extract states that “the slight increase in popularity and demand is significantly factored by the different versions of the pankha being crafted,” directly indicating economic demand as the primary driver of commercialisation.
II. Answer the following questions.
1. How does the title ‘Winds of Change’ capture the essence of the chapter?
Ans:
- Literally, it refers to the pankha itself — a fan that creates a breeze.
- Metaphorically, “winds of change” refers to a force of significant transformation. The chapter discusses how the pankha has evolved from an ancient personal and ceremonial object to a commercialised handicraft, and how modern technology has reshaped its role.
- It also hints at the cultural winds that threaten traditional crafts, and at the positive change brought by awareness initiatives helping to revive them.
- Thus, the title encapsulates the chapter’s dual message: celebrating India’s pankha heritage while recognizing the influence of modernity in reshaping it.
2. Support the following statement with any two relevant examples from the chapter.
‘The structure and design of pankhas are testimony to the cultural identity of the region.’
Ans:
- Rajasthan: The zardozi hand fan, with its glittering gold threadwork, reflects the region’s tradition of opulent, richly embellished handicrafts associated with its royal courts and festive culture.
- Gujarat: The beaded hand fan, adorned with colorful beads and a silver handle, is closely associated with Gujarat’s identity as a center for bead craft. It reflects the region’s tradition of vibrant handicrafts produced by industrious home-based women artisans.
3. The chapter mentions pankhas running the risk of slowly losing their presence among Indians. Evaluate how the balance between preserving traditional craftsmanship and incorporating innovative designs in the creation of pankhas will help in this regard.
Ans:
- Preserving traditional craftsmanship ensures cultural authenticity. The intricate needlework, indigenous materials, and regional designs that give each pankha its unique identity must be maintained; otherwise, the craft risks becoming indistinguishable from mass-produced items.
- Incorporating innovative designs ensures that pankhas remain appealing to contemporary consumers. This can be achieved through new color combinations, fusion aesthetics, or their use as home décor and gifts, thereby expanding the market base.
- The optimal approach is to achieve a complementary balance: preserving core techniques and cultural identity while permitting creative adaptation within the tradition. This strategy has proven effective for crafts such as Madhubani painting, which transitioned to canvas and fabric while retaining its distinctive style.
- This balance ensures that pankhas remain commercially viable without diminishing their cultural significance, allowing them to continue as living expressions of Indian craftsmanship rather than becoming mere museum artifacts.
4. How might initiatives such as pankha-making workshops contribute to the preservation of this traditional craft?
Ans:
- Skill transmission: Experienced artisans can pass on techniques to younger generations, preventing skills from dying with aging craftspersons.
- Awareness: Workshops introduce students, hobbyists, and tourists to the art and history of pankha-making, cultivating informed consumers who appreciate and purchase handmade fans.
- Commercial visibility: Workshops at handicraft exhibitions help artisans demonstrate and sell their work, reaching new markets.
- Economic empowerment: Income from workshops makes the craft financially sustainable, giving artisans a reason to continue.
- Cultural pride: Public celebration of the craft restores dignity and pride in pankha-making, counteracting the tendency to undervalue traditional manual crafts.
5. The writer mentions celebrating pankhas in the concluding part of the chapter. Assess how this could be beneficial to artisans and the craft.
Ans:
- For artisans: Exhibitions, festivals, and media coverage offer commercial platforms and reinforce professional identity, motivating artisans to continue practicing the craft rather than seeking alternative occupations.
- For the craft: Public celebration increases awareness and demand both nationally and internationally, encouraging artisans to develop new designs and ensuring the craft remains vibrant and evolving.
- It also attracts researchers, NGOs, designers, and government agencies, resulting in documentation, financial support, and policy-level protection for pankha-making as a traditional craft.
6. How does the restriction of the use of pankha for decorative purposes reflect the changing cultural role of these traditional fans in modern India?
Ans:
- Triumph of technology: Electric fans and air conditioners have rendered the pankha functionally redundant. It has been retired from daily use and relegated to a decorative or collectible status.
- Shift in cultural value: The pankha once held functional, ceremonial, and domestic significance. It now primarily serves as a symbol of heritage, displayed on walls, presented as gifts at festivals, or exhibited in museums.
- Risk of cultural disconnection: When used solely for decoration, younger generations may recognize the pankha as “traditional” without understanding the skill and community identity it represents.
- New form of preservation: Simultaneously, decorative use maintains the visibility of pankhas in homes and public spaces, serving as a form of passive cultural preservation that ensures the object remains part of India’s visual and cultural landscape.
Vocabulary and Structures in Context
I.1. Classify the word pairs into Appearance, Place, and Material.
Ans:
I.II. Fixed expressions with ‘and’ — complete the table and match meanings.
III.1. Choose the appropriate word collocations for the following sentences.
(i) The students have to (take/give) the English exam tomorrow.
(ii) The interviewer asked the candidate to (take/have) a seat.
(iii) My scooter (dashed against/ran into) a car.
(iv) I must (take/own) responsibility for my success.
(v) I would like to (tone up/improve) my grammar.
Ans:
- (i) take — the correct collocation is “take an exam.”
- (ii) have — “have a seat” is the conventional polite expression in this context.
- (iii) ran into — means to collide with unexpectedly; the standard collocation.
- (iv) take — “take responsibility” is the fixed expression for acknowledging accountability.
- (v) improve — “improve grammar” is standard; “tone up” collocates with physical fitness, not language.
IV. Underline the verbs and fill in the blanks with present perfect tense.
Verbs underlined in the given sentences:
- 1. In modern times, pankhas have become traditional craft items in India.
- 2. Gujarat’s industrious home-based women workers have worked tirelessly in the handicraft of pankha-making.
- 3. Many tribes in India have adopted this handicraft.
- 4. Once made for personal use, this handicraft has transformed into a commercial business.
Fill in the blanks with present perfect tense:
Puppets have long fascinated audiences worldwide. Puppeteers (i) have created intricate characters and captivating stories with their skillful artistry. They (ii) have mastered the delicate movements that bring these lifeless figures to life, entertaining both children and adults. Over the years, puppetry (iii) has evolved, using modern technology while preserving traditional techniques. Many puppeteers (iv) have passed down their craft through generations, ensuring its continuity. They (v) have performed in theatres, on television, and at festivals, conveying important cultural narratives.
Speaking Activity
Sample Monologues: Imagining Yourself as a Fan
Each student picks one of four fans (Hand fan, Ceiling fan, Table fan, Handheld fan), imagines themselves as that fan, and speaks for 1–2 minutes covering: introduction, description, likes, weaknesses, and what makes them unique. Sample monologues for all four are given below.
1. The Hand Fan (Traditional Pankha)
Greetings! I am a traditional hand fan—known as the pankha—a symbol of India’s rich artistic heritage. My story stretches back centuries, with my presence visible in ancient art like the murals of Ajanta. Crafted from various materials—sometimes palm leaves, sometimes bamboo, or even decorated with mirrors and metallic threads—I take on unique shapes depending on the region: circular in Assam, long and slender in Kerala, or rectangular with fringes in Uttar Pradesh.
What sets me apart is that I am more than just a cooling tool; I am a piece of living history. Holding me means holding the legacy of skilled craftsmanship passed down through generations. I am eco-friendly, need no power to run, and work quietly—especially useful during power cuts.
My limitation is that I cannot cool large spaces, and with the rise of air conditioners, I am used less frequently. In many homes, I am remembered more for tradition than daily use.
My uniqueness lies in my individuality. Each of my kind is made by hand, with every fold and stitch reflecting the artisan’s dedication and cultural background. I am not just a practical object, but a carrier of stories and tradition that endure through time.
2. The Ceiling Fan
Greetings! I am the ceiling fan—a constant presence in homes, classrooms, offices, and eateries throughout India. Suspended above, I rotate steadily to create a cooling breeze in living rooms, school halls, hospital wards, and roadside cafés from north to south. My typical design features three or four blades, sometimes with decorative patterns, and I run for long hours to keep spaces pleasant and comfortable.
My main strength is my ability to circulate air efficiently, bringing a sense of relief to everyone in the room. I use less electricity compared to air conditioners and am renowned for my reliability, making me as much a household staple as a bed or a stove.
However, I have limitations: I cannot operate without electricity, and during power outages or intense heat, I can’t match an air conditioner’s cooling power. Unlike portable fans, I am fixed in one spot and can’t be moved from room to room.
What distinguishes me? I am a symbol of the Indian home. When people recall a summer afternoon nap, a school classroom, or a grandmother’s room, they envision me turning slowly overhead. I am not merely an appliance; I am a memory.
3. The Table Fan
Hello! I am the table fan—compact yet powerful. I can be positioned wherever you need a cool breeze: on your desk, kitchen counter, or beside your bed. Thanks to my oscillating feature, I rotate to spread air across a wide area, making me highly effective despite my small size.
My greatest strengths are flexibility and ease of movement. You can shift me from the study to the veranda or kitchen, ensuring comfort wherever you are. I’m perfect for personal cooling, especially during long hours at a desk, without disturbing those around you.
Of course, I do have some limitations. My airflow is focused on a small space right in front of me, so I can’t cool an entire room. And if I’m not plugged in or my battery dies, I become just another object on the table.
What truly sets me apart is my ability to offer customized comfort. Unlike ceiling fans that serve a whole room, I cater to the individual’s needs, delivering a direct and personal breeze—ideal in today’s world where everyone values convenience and personalization.
4. The Handheld (Mini Portable) Fan
Hi there! I’m the handheld fan—a small, portable device powered by batteries or USB, inspired by the timeless pankha. My size means I fit easily into your pocket, bag, or hand, and you’ll spot me at sporting events, outdoor functions, train stations in the summer, and with travelers on the go.
What makes me useful is my instant accessibility. I don’t need to be plugged in or permanently installed—just press a button, and I’m ready to provide a breeze anytime, anywhere.
Of course, I do have some drawbacks: my compact size limits the area I can cool, and my battery life means I may not last through a really hot day. I’m meant for quick, on-the-spot relief rather than long-lasting comfort, and I lack the traditional charm and craftsmanship of the classic pankha.
Still, my greatest strength is adaptability. I bring an ancient idea into the present, combining tradition with modern convenience. My existence shows how old practices can be reimagined for today’s fast-paced, mobile lifestyles.
Writing Task
I. Describe an artefact you have made in your craft class or learnt from someone.
Begin with collection and organisation of the facts with the help of the pointers given above. Do not include your opinion in the factual description.
Ans: Sample Factual Description of an Artefact Made in Craft Class: A Paper Hand Fan
Description and Features:
This artefact is a handmade paper fan that expands to roughly 20 centimetres across when opened. Its shape is round, and it displays a variety of colours using red, orange, green, and yellow paper strips. The handle is constructed from two wooden sticks, each about 15 centimetres long, which are secured together at the base with rubber bands and tape. The fan’s pleated design enables it to fold flat or spread out into a complete circle.
Materials Used:
Key materials include coloured craft paper (rectangular sheets), two flat wooden sticks (such as those from ice cream bars), rubber bands, and adhesive tape. The fan is assembled mostly by folding, with scissors only used for trimming. All materials are light and inexpensive.
Construction Steps:
To assemble the fan, fold the paper sheets back and forth in even pleats, creating an accordion effect. Two sheets may be joined for a bigger fan. Attach one wooden stick to each side of the folded bundle using tape. Fasten the sticks together at their ends with a rubber band. Upon releasing the band, the pleated fan opens into a full circle.
Uses:
This paper fan serves as a handy cooling tool during hot weather. It is equally useful as a decorative piece, for stage performances, or as wall art. Fans in different shades can be grouped for a colourful decorative display.
Importance:
Crafting this paper fan allows learners to experience the heritage of Indian pankha-making firsthand, nurturing respect for the skills and effort involved in even a simple version of this traditional craft.