Winds of Change Class 9- Summary & NCERT Solutions

Back to Class 9 English Notes

At a Glance

Genre	Informational / expository prose (a factual account rather than a narrative)
Subject	The history, regional varieties, and changing cultural role of the pankha (hand fan) in India
Structure	Organised chronologically (origins to present) and geographically (state by state), moving from ancient evidence to contemporary challenges
Key Regions Covered	Rajasthan, Gujarat, West Bengal, Uttar Pradesh, Odisha, Bihar, and various tribal communities
Central Idea	The pankha, once an object of daily necessity, has evolved over centuries into a rich, regionally diverse art form that today faces the risk of decline due to modern technology, even as it survives as a valued cultural and commercial handicraft
Tone	Informative, appreciative and reflective
Purpose	To document the cultural and historical significance of the pankha and to raise awareness about the need to preserve this traditional craft
Title Significance	‘Winds of Change’ plays on both the literal function of a fan — creating a cooling breeze — and the figurative winds of change that have transformed the pankha from a personal necessity into a traded good, a decorative craft, and now an endangered tradition

NCERT Solutions

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?

Answer: Yes, my grandmother uses a hand fan at home, and in Hindi we call it a ‘pankha’. Ours is made of woven palm leaf with a simple bamboo handle, and she uses it especially during power cuts or while sitting outside in the evening.

II. Work in pairs. Study the pictures given below carefully and complete the information.

	Fan 1	Fan 2	Fan 3
The State it is from	Assam	Kerala	Uttar Pradesh
Shape	Round, sun-like circular shape with radiating spokes	Broad, hand-shaped fan with a natural, flared leaf outline	Rectangular, flag-like shape with a decorative border
Made of	Cane or bamboo strips woven together	Palm leaf	Moonj grass

III. Match the underlined words in Column 1 with their meanings in Column 2.

Column 1	Column 2 (Meaning)
1. indigenous	(iv) local — from where it originated
2. innovative	(v) new and original in approach
3. industrious	(i) hardworking
4. intricate	(vi) elaborate / detailed
5. invoked	(iii) brought out
6. initiatives	(ii) actions to improve a situation

Check Your Understanding

I. Work in pairs to complete the table on pankha.

State	Type of Fan	Material Used
Rajasthan	appliqué hand fan	pieces of fabric in different shapes and patterns sewn onto another cloth
Rajasthan	zardozi hand fan	gold thread
Rajasthan	temple hand fans	engraved brass, with a long handle
Gujarat	mirror work hand fans	pure cotton, embellished with mirror work
Gujarat	beads hand fan	beads, with a silver handle
Gujarat (Kutch)	leather hand fan	leather, decorated with thread and wool
West Bengal	sola hand fans	the milky-white spongy centre of the sola plant
Uttar Pradesh	Phadh hand fans	pure gold, silver zari, silk and satin frills
Bihar	bamboo hand fans	bamboo

Critical Reflection

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.’

Answer: This statement is true. The extract explicitly states that pankhas ‘became significant cultural goods distributed through trade routes’, confirming that they were widely traded and commercially popular.

(ii) Why has the word ‘traditional’ been used to describe pankhas?

Answer: The word ‘traditional’ is used because pankhas were crafted using techniques, materials and designs passed down through generations within particular villages and towns, making them rooted in long-standing regional customs rather than being a recent or generic product.

(iii) Complete the following statement: The sentence ‘They were considered exotic and stylish’ is an opinion and not a fact because ______.

Answer: This sentence is an opinion and not a fact because words like ‘exotic’ and ‘stylish’ express a subjective judgement about how pankhas were perceived, which can vary from person to person, rather than stating a measurable or verifiable piece of information.

(iv) Infer one reason for commonality in the use of pankhas across India.

Answer: One likely reason for this commonality is that pankhas served the same basic, universal purpose everywhere — providing relief from heat — so despite regional differences in material and design, their fundamental function and general use remained consistent across the country.

(v) Select the correct assertion for the given reason: ‘Pankhas were made of indigenous materials, unique to the region, with elaborate designs.’

Answer: Option A is correct: ‘Each kind of pankha could be distinguished from the other.’ Since every region used its own indigenous materials and elaborate, locally distinctive designs, this naturally allowed each type of pankha to be told apart from pankhas made elsewhere.

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.

Answer: One negative impact is that modern technology, such as electric fans, has provided people with more convenient alternatives, gradually reducing the everyday relevance of the traditional pankha and putting its cultural presence at risk of fading among Indians.

(ii) Complete the statement with an appropriate reason: The writer refers to ‘pankhas’ not just as an object but as a ‘culture’ because ______.

Answer: The writer refers to pankhas as a ‘culture’ because they embody generations of regional craftsmanship, stories, artistic traditions and identity, representing far more than a simple functional object used to create a breeze.

(iii) Select a line from the extract which depicts how the role of the pankha has changed over the years.

Answer: The line ‘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’ clearly depicts this shift from personal, everyday use to a commercial, livelihood-generating craft.

(iv) List one way in which the increase in demand of pankhas might benefit artisans.

Answer: An increase in demand can provide artisans with a more sustainable and reliable source of income, encouraging them to continue practising and passing on their traditional craft rather than abandoning it for other work.

(v) Select the factor that has contributed to the commercialisation of pankhas.

Answer: Option B is correct: economic demand. The extract states that the ‘slight increase in popularity and demand’ has significantly driven the crafting of different versions of the pankha, showing that economic demand is the key factor behind its commercialisation.

Answer the Following Questions

1. How does the title ‘Winds of Change’ capture the essence of the chapter?

Answer: The title works on two levels: literally, a pankha is an object designed to create a cooling breeze or ‘wind’, while figuratively, the phrase ‘winds of change’ refers to the sweeping transformation the pankha has undergone over centuries — from a ritual and royal object, to a widely traded cultural good, to a modern decorative craft now at risk from technological change. The title therefore neatly captures both the fan’s practical function and the broader historical and cultural shifts described in the chapter.

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.’

Answer: This statement is well supported by examples from the chapter. Rajasthan’s zardozi hand fan, with its glittering gold threadwork, reflects the region’s long-standing tradition of ornate, royal craftsmanship, while Gujarat’s mirror work hand fans, made of cotton embellished with mirror work, reflect Gujarat’s well-known heritage as a centre for bead and mirror craft. In each case, the specific materials and designs used are drawn directly from the region’s own artistic traditions, making the pankha a genuine reflection of local cultural identity.

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.

Answer: Striking a balance between tradition and innovation could help the pankha survive by keeping the craft economically viable without stripping it of its cultural authenticity. Preserving traditional techniques and materials ensures that the pankha continues to reflect genuine regional heritage, while incorporating innovative designs or contemporary uses can make the craft more appealing to modern buyers and open up new markets. Together, this balance would allow pankha-making to remain a living, evolving tradition rather than either disappearing entirely or losing its cultural roots in the pursuit of commercial appeal.

4. How might initiatives such as pankha-making workshops contribute to the preservation of this traditional craft?

Answer: Pankha-making workshops can contribute to preservation by training new generations of artisans in traditional techniques, ensuring the skill is not lost, while also raising public awareness and appreciation of the craft’s history and artistry. Such workshops can further provide artisans with a platform to showcase and sell their work directly, helping to create the kind of sustainable livelihood that would encourage more people to continue practising this traditional handicraft.

5. The writer mentions celebrating pankhas in the concluding part of the chapter. Assess how this could be beneficial to artisans and the craft.

Answer: Celebrating pankhas, through exhibitions, festivals or public recognition, could benefit artisans by increasing visibility and demand for their work, giving them a genuine commercial platform and a stronger sense of pride in their craft. For the craft itself, such celebration helps preserve its stories, artistry and cultural significance in the public consciousness, making it less likely to be forgotten or replaced entirely by modern alternatives.

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?

Answer: The shift of the pankha from an everyday practical necessity to a largely decorative object reflects how modernisation and technologies such as electric fans have taken over its original cooling function. This restriction shows that the pankha’s cultural role has changed from functional utility to symbolic and aesthetic value, in which it is now appreciated chiefly as a piece of traditional art and heritage rather than as a daily household tool.

Vocabulary and Structures in Context

I. Classifying Word Pairs from the Text

Appearance	Place	Material
exotic and stylish	within and outside	thread and wool
ornate and encrusted	villages and towns	silk and brass

II. Fixed Expressions with ‘and’

Some common expressions with ‘and’ have a fixed word order that cannot be changed, with the shorter word generally coming first (for example, ‘bread and butter’, not ‘butter and bread’).

Word 1	Word 2	Fixed Expression	Meaning
high	dry	high and dry	(i) in a difficult situation, without help or money
wear	tear	wear and tear	(ii) the damage to an object caused by normal use
fact	figures	facts and figures	(iii) accurate and detailed information
thick	thin	thick and thin	(iv) even when there are problems or difficulties
all	sundry	all and sundry	(v) everyone, not just a few special people (given)
time	again	time and again	(vi) often; on many or all occasions
cut	run	cut and run	(vii) to make a quick or sudden escape
hard	fast	hard and fast	(bonus) strict and unable to be changed, as in ‘hard and fast rules’

III. Collocations

The given phrases — ‘sustainable livelihood’, ‘aesthetically pleasing’, ‘appreciating the culture’ — are conventional word combinations known as collocations, in which certain words are habitually paired together in English.

1. Choosing the appropriate word collocations:

• (i) The students have to take the English exam tomorrow.
• (ii) The interviewer asked the candidate to take a seat.
• (iii) My scooter ran into a car.
• (iv) I must take responsibility for my success.
• (v) I would like to improve my grammar.

IV. The Present Perfect Tense

The verbs underlined in the textbook’s example sentences — ‘have become’, ‘have worked’, ‘have adopted’, ‘has transformed’ — all refer to actions that began in the past but remain relevant to the present. This form of tense is called the present perfect tense, and it is also used for actions that have been very recently completed.

Filling in the blanks with the present perfect form of the verbs:

Puppets have long fascinated audiences worldwide. Puppeteers (i) have created intricate characters and captivating stories with their skilful 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.

Listen and Respond

The correct statements are:

1. Rohan thinks Grandma prefers heavier items because they feel more substantial.
3. Rohan believes Grandma enjoys sitting in the verandah during the evenings.
6. Priya suggests choosing between a bamboo pankha with beadwork or an embroidered pankha with mirror work.

Speaking Activity

Model Speaking Cues for Four Kinds of Fans

1. Hand Fan

I am a hand fan, and I have been part of Indian households for centuries, long before electricity ever arrived. I am usually made of palm leaf, cane, cloth or bamboo, and I am often beautifully decorated with embroidery, mirror work or painted designs. What I like most about myself is that I carry real artistry and cultural history in every stitch and pattern. My weakness is that I need someone’s hand and effort to work, unlike modern electric fans that run on their own. What makes me unique is that no two of my kind, from different regions of India, ever look quite the same.

2. Ceiling Fan

I am a ceiling fan, and I quietly keep entire rooms cool from above, running for hours without anyone needing to hold or move me. I am made mostly of metal and plastic, with blades that spin steadily overhead. What I like about myself is my convenience and reliability, since I need no active effort once switched on. My weakness is that I depend entirely on electricity, and I stop working the moment the power goes out. What makes me unique is that I can cool an entire room evenly, rather than just one person at a time.

3. Table Fan

I am a table fan, portable and practical, and you will often find me placed on a desk or table wherever a steady breeze is needed. I am made chiefly of plastic and metal, with blades that rotate quickly to push air forward. What I like about myself is my flexibility, since I can be carried from room to room as needed. My weakness is that I only cool a limited, direct area rather than an entire space. What makes me unique is the balance I offer between portability and power.

4. Handheld Fan

I am a handheld fan, small, modern and battery-powered, designed to fit easily into a pocket or bag. I am usually made of lightweight plastic and a small electric motor. What I like about myself is how convenient and personal I am, offering instant relief from heat wherever you happen to be. My weakness is that I can only cool one person at a time and need regular charging or batteries to keep working. What makes me unique is that I combine the portability of a traditional hand fan with the effortless power of modern technology.

Writing Task

Factual Description: A Paper Hand Fan

In our school craft class, I made a paper hand fan using coloured chart paper, a wooden ice-cream stick, and craft glue. The fan measures approximately twenty centimetres in diameter when fully opened, and is folded into narrow, even pleats before being gathered and fastened at the base. The pleats were first marked with a pencil at regular intervals and then folded carefully along each line to form a fan shape. Once fully pleated, the paper was gathered at one end and secured tightly with thread before the wooden stick was glued in place as a handle to complete the fan. The finished fan can be opened and closed freely, and functions by creating a gentle current of air when moved rapidly back and forth by hand.

Learning Beyond the Text

I. Presentation on a Regional Art or Craft Item

Model Presentation: The Madhubani Painting of Bihar

Name and Physical Characteristics

Madhubani painting is a traditional folk art form characterised by intricate line drawings filled in with bright, natural colours, geometric patterns, and motifs drawn from nature, mythology and everyday rural life.

Materials

Traditionally, Madhubani paintings were created using natural dyes and pigments derived from plants, along with twigs, brushes made of cotton wrapped around a bamboo stick, and a base of cloth, dried leaves or hand-made paper.

Region and Traditional Use

This art form originates from the Mithila region of Bihar, and it was traditionally practised by women who painted the walls and floors of their homes during festivals, weddings and other significant occasions as a way of expressing devotion and celebration.

Origin Story and Evolution

According to popular tradition, Madhubani painting is said to date back to the time of the Ramayana, when King Janak commissioned artists to decorate the town for his daughter Sita’s wedding. Over time, the art form evolved from being confined to home walls to being painted on paper and cloth, allowing it to be sold commercially and appreciated well beyond the Mithila region.

Contemporary Use

Today, Madhubani art is used effectively on textiles, home décor items, greeting cards and canvases, allowing the tradition to be preserved and enjoyed as both a livelihood for artisans and a celebrated form of Indian folk art.

II. Making a Hand Fan

Task: In groups of four, make your own hand fan using ideas from the textbook’s illustrations, display it in class, and describe the process used to make it.

A simple paper hand fan can be made by first cutting a rectangular sheet of coloured paper to the desired size, then folding it into narrow, even pleats from one end to the other. Once fully pleated, the paper is gathered tightly at one end and secured firmly with thread, glue or a small clip. Two thin sticks, such as ice-cream sticks or bamboo strips, are then glued to the outer folds on either side to serve as a sturdy handle, after which the fan can be opened out into its final shape and decorated as desired before being displayed.

III. Reading ‘The Last Leaf’ by O. Henry

The story tells of Sue and Johnsy, two young artists sharing a small flat, where Johnsy falls seriously ill with pneumonia and, watching an old ivy creeper outside her window shed its leaves in a storm, becomes convinced that she will die when the very last leaf finally falls. Behrman, an elderly painter living downstairs who has always dreamed of creating a masterpiece but never has, secretly goes out into the stormy night and paints a single, lifelike ivy leaf on the wall opposite Johnsy’s window. When Johnsy wakes to find the ‘last leaf’ still clinging on despite the storm, her will to live is restored and she gradually recovers, while it is later revealed that Behrman himself has died of pneumonia after braving the storm to paint his one true masterpiece — the leaf that saved Johnsy’s life.

Reflection Guidance

• Compare Behrman’s selfless act of artistic creation with the deep cultural devotion shown by pankha artisans in ‘Winds of Change’, both of whom pour personal sacrifice and skill into their craft.
• Discuss how art, in both texts, is shown to carry meaning and value far beyond its physical form — whether as a source of hope and life, or as a marker of cultural identity and heritage.
• Reflect on how a single act of creativity, like Behrman’s leaf or the intricate designs of a regional pankha, can carry emotional and cultural weight that outlives the artist or the immediate occasion for which it was made.

Short Chapter Summary

‘Winds of Change’ traces the history and cultural significance of the pankha, or hand fan, in India. The word ‘pankha’ derives from ‘pankh’, meaning a bird’s feather, and evidence of its ancient use survives in Buddhist wall paintings at Ajanta dating to the 2nd century CE, as well as in embroidery, sculpture and carvings. In ancient times, pankhas served ritual and royal purposes, fanning deities in temples and kings in royal courts, and ranged in size from tiny ornamental fans to large ones requiring considerable strength to operate.

Over centuries, pankhas became valuable trade goods distributed across India, and although their basic function remained the same everywhere, different regions developed their own distinctive materials and designs. Rajasthan is known for its appliqué, zardozi, temple and painted hand fans; Gujarat for cotton fans with mirror work, beaded fans, and Kutch’s hand-stitched leather fans; West Bengal for delicate sola and palm leaf fans; and Uttar Pradesh, Odisha and Bihar each for their own distinctive styles using gold thread, palm leaf and bamboo respectively. Many tribal communities have also developed their own versions of the handheld fan using local materials and geometric patterns.

In modern times, however, pankhas have largely been reduced to decorative items as newer technologies have taken over their original cooling function, placing this rich cultural tradition at risk of gradually fading from everyday Indian life. What was once made purely for personal use has, over time, become a commercial handicraft that provides some artisans with a livelihood, and the chapter concludes by emphasising that celebrating pankhas and supporting initiatives such as pankha-making workshops and handicraft exhibitions are essential steps towards preserving this traditional art form for future generations.

About the Text & Literary Style

‘Winds of Change’ is an informational, expository piece of prose rather than a work of narrative fiction, and no individual author is credited in the textbook. As such, it should be read as a researched, factual account compiled to educate students about the pankha’s history and regional diversity, rather than as a personal literary composition. Its purpose is chiefly documentary and educational: to record the cultural and historical significance of a traditional craft and to raise awareness of the need for its preservation.

Detailed Explanation

Origins and Ancient History of the Pankha

The chapter opens by tracing the etymology of the word ‘pankha’ to ‘pankh’, meaning the feather of a bird, while distinguishing it from ‘pankhi’, a term used specifically for a small plumed fan in ancient India. The writer cites Buddhist wall paintings at Ajanta, dating back to the 2nd century CE, as concrete historical evidence of the pankhi’s ancient use, alongside its appearance in embroidery, sculpture and carvings. The text explains that pankhas served significant ritual and royal functions in ancient India, being used to fan deities in temples and kings in royal courts, and notes that they varied enormously in size, from tiny two-inch fans to large fans requiring considerable physical strength to operate.

Pankhas as Trade Goods and Regional Traditions

The writer then describes how, over time, pankhas became significant cultural goods distributed through trade routes and were considered exotic and stylish possessions. Despite a broad commonality in their use across India, different villages and towns developed their own distinctive varieties, using different materials or intricate designs that set each region’s pankhas apart from one another, including bamboo, cane, palm leaf, silk, brass, leather and silver, often decorated with beads and stones according to local geography, culture and ritual.

Rajasthan’s Pankha Traditions

Rajasthan is shown to have a particularly rich variety of pankha styles. The appliqué hand fan is described as an antique pankha made from pieces of fabric in different shapes and patterns, sewn onto another cloth using ornamental needlework, while the zardozi hand fan is distinguished by its glittering, ornate and encrusted gold threadwork. Temple hand fans, made by engraving brass and fitted with a long handle, are noted as popular too, alongside the painted hand fan, a cardboard pankha decorated with various images and typically offered to gods.

Gujarat’s Pankha Traditions

Gujarat is presented as having its own indigenous take on pankhas, producing elegant, pure cotton-based fans embellished with mirror work. The beads hand fan, covered in colourful beads and fitted with a silver handle, reflects Gujarat’s status as the centre of bead craft in India, while Kutch is recognised specifically for its hand-stitched leather hand fans, decorated with thread and wool at the seams. The text also highlights the crucial role played by Gujarat’s industrious home-based women workers, who have worked tirelessly to produce embroidered hand fans with traditional mirror work and cross-stitch embroidery in a range of shapes and sizes.

Bengal, Uttar Pradesh, Odisha and Bihar

Artisans in Bengal are described as making delicate pankhas from the milky-white spongy centre of the sola plant, alongside palm leaf hand fans locally known as Tal Patar Pankha, valued for being easy to carry and commonly kept as household possessions. Other states are shown to have their own distinctive traditions as well: Uttar Pradesh’s Phadh hand fans are adorned with pure gold, silver zari, silk and satin frills, while Odisha’s large palm leaf fans and Bihar’s colourful, sturdy bamboo hand fans are both recognised across India for their antiquity and rarity.

Tribal Adaptations of the Pankha

The chapter notes that many tribal communities across India have also adopted this handicraft, creating their own versions of the handheld fan using materials such as grass and metal, embedded into the fans with bamboo sticks and grass, while cane and palm leaves are used more widely, with silk and brass reserved for antique pieces. The use of geometric patterns and a distinctive combination of white ink on a red background is noted as a technique that has helped these communities create their own beautifully designed pankhas.

The Modern Challenge and the Path to Preservation

In its concluding sections, the chapter turns to the pankha’s uncertain future, explaining that with the advent of technology and innovative creations, this beautiful cultural tradition runs the risk of slowly losing its presence among Indians. What was once made purely for personal use has, over time, transformed into a commercial business providing some form of livelihood to India’s artisans, with demand rising slightly as different, innovative versions of the pankha continue to be crafted. The writer argues that one of the first steps towards preserving the essence of the craft is to celebrate pankhas and appreciate the culture, stories and artistry they represent, since this allows contemporary pankha makers to demonstrate their skill, regain popularity, and access a commercial platform for a sustainable livelihood. The chapter closes by noting that initiatives such as pankha-making workshops, held both within and outside handicraft exhibitions, help spread awareness of the beauty and importance of this craft within India’s wider culture.

Word Meanings

Word	Meaning
indigenous	local; originating from a particular region
innovative	new and original in approach
industrious	hardworking
intricate	elaborate and detailed
invoked	brought out; called forth
initiatives	actions taken to improve a situation
encrusted	covered or decorated, typically with a hard or decorative layer
sola	a type of water grass with a milky-white, spongy centre, used to make delicate pankhas
perpetually	constantly; continuously
antiquity	the distant past; great age
advent	the arrival or coming of something, especially something new or significant

Literary Devices & Stylistic Features

As an informational rather than a literary text, ‘Winds of Change’ relies less on traditional literary devices such as metaphor or personification, and more on structural and descriptive techniques suited to expository writing. The key stylistic features are outlined below.

Feature	Example from the Text	Effect / Function
Chronological Structuring	the movement from ancient Ajanta paintings to modern commercialisation	Allows the reader to follow the pankha’s historical development clearly, from its ancient origins to its present-day challenges.
Geographical Cataloguing	successive sections on Rajasthan, Gujarat, West Bengal, Uttar Pradesh, Odisha and Bihar	Organises a large amount of regional information systematically, allowing each region’s distinct tradition to be appreciated individually.
Precise Descriptive Detail	‘glittering ornate and encrusted gold threadwork’; ‘milky-white spongy centre of the sola’	Creates vivid, concrete imagery that helps the reader visualise the appearance and texture of different pankhas.
Contrast	personal, ritual use in ancient times versus commercial, decorative use in modern times	Highlights the significant transformation the pankha has undergone, reinforcing the chapter’s central theme of continuity and change.
Technical and Regional Vocabulary	terms such as ‘zardozi’, ‘appliqué’, ‘Tal Patar Pankha’, ‘Phadh’	Grounds the text in authentic cultural detail and enhances its credibility as an informative, well-researched account.
Appreciative Tone	consistently admiring language used to describe artisans’ skill and designs	Encourages the reader to value the pankha as a significant cultural achievement rather than a mere household object.

Important Exam Questions (NEP 2020 Aligned)

Section A: Extract-Based Questions

Read each extract carefully and answer the multiple-choice and very short answer questions that follow.

Extract 1

“The word punkha or pankha originates from the word ‘pankh’, which means feather of a bird… Evidence of the existence and use of pankhi in India can be found in Buddhist wall paintings at Ajanta. These wall paintings date back to the 2nd century CE.”

1. The reference to Ajanta wall paintings chiefly serves to:

(a) entertain the reader with an unrelated fact

(b) provide historical evidence for the ancient use of the pankhi  ✓

(c) criticise the accuracy of ancient Indian art

(d) compare pankhas with other ancient crafts

Explanation: The Ajanta paintings are cited specifically to prove that the pankhi existed and was in use as far back as the 2nd century CE.

2. The distinction drawn between ‘pankha’ and ‘pankhi’ primarily shows that:

(a) the two words are used interchangeably with no difference

(b) the writer wants to demonstrate a precise, well-researched use of terminology  ✓

(c) pankhi is a modern invention unrelated to pankha

(d) the words have no connection to the feather of a bird

Explanation: By carefully distinguishing between the general term ‘pankha’ and the specific ‘pankhi’, the writer signals a precise, well-informed treatment of the subject.

3. The word ‘pankh’, meaning a bird’s feather, most likely gave rise to the word ‘pankha’ because:

(a) birds were used to make ancient fans

(b) early fans may have resembled or been made from feathers, linking their function to a feather’s fanning motion  ✓

(c) the word has no real connection to feathers at all

(d) feathers were considered a symbol of royalty

Explanation: The etymological link suggests that early fans were associated with the light, sweeping motion of a bird’s feather, which inspired both the fan’s function and its name.

Very Short Answer: Why is citing a specific historical source, such as the Ajanta paintings, important in a text like this?

Answer: Citing a specific, verifiable historical source strengthens the credibility of the chapter’s claims, showing that the pankha’s ancient origins are supported by concrete evidence rather than being based on assumption or folklore alone.

Extract 2

“Furthermore, the zardozi hand fan of Rajasthan differs in its use of glittering ornate and encrusted gold threadwork. In Rajasthan, temple hand fans are popular too. These are made by engraving brass and have a long handle.”

1. The word ‘encrusted’ in this extract most nearly means:

(a) plain and unadorned

(b) covered or decorated, typically with a hard or textured layer  ✓

(c) damaged through wear and use

(d) lightweight and simple in design

Explanation: ‘Encrusted’ describes gold threadwork that is thickly and elaborately applied to the surface, giving the fan a decorated, textured appearance.

2. The description of the zardozi and temple hand fans together chiefly shows that:

(a) Rajasthan has only one style of pankha

(b) Rajasthan possesses a rich variety of distinct pankha-making traditions  ✓

(c) temple hand fans are more popular than all other types

(d) brass fans are considered inferior to gold ones

Explanation: By describing multiple distinct styles within a single region, the writer highlights the sheer diversity and richness of Rajasthan’s pankha-making traditions.

3. The engraving of brass to make temple hand fans suggests that these fans were:

(a) crafted with considerable skill and durability in mind  ✓

(b) made carelessly and quickly for daily use

(c) imported from outside Rajasthan

(d) used only by children

Explanation: Engraving brass requires precision and skill, and the resulting fan’s long handle and sturdy material suggest it was made to last and to serve a dignified, likely ceremonial, purpose.

Very Short Answer: What does the variety of pankha styles found within a single state, such as Rajasthan, suggest about the craft as a whole?

Answer: It suggests that pankha-making is not a single, uniform tradition but a richly varied art form, in which even a single region can develop multiple distinct styles, reflecting the deep creativity and skill embedded in India’s regional craft traditions.

Extract 3

“Gujarat’s industrious home-based women workers have worked tirelessly in the handicraft of pankha-making to produce embroidered hand fans with traditional mirror work and cross-stitch embroidery in different shapes and sizes.”

1. The phrase ‘industrious home-based women workers’ primarily highlights:

(a) the poor quality of pankhas made at home

(b) the significant, dedicated labour of women artisans working from their homes  ✓

(c) a criticism of home-based industries

(d) the replacement of women workers by machines

Explanation: The phrase draws specific attention to the hard work and dedication of women who produce this craft from within their own homes.

2. The word ‘tirelessly’ in this extract chiefly conveys:

(a) boredom with repetitive work

(b) sustained effort and dedication over time  ✓

(c) a lack of skill in the craft

(d) resentment towards the work being done

Explanation: ‘Tirelessly’ emphasises continuous, sustained effort, underlining the dedication of Gujarat’s women artisans to their craft.

3. By specifically naming ‘home-based women workers’, the writer chiefly draws attention to:

(a) the informal, often overlooked economic contribution of women artisans  ✓

(b) the failure of women to find formal employment

(c) a criticism of traditional gender roles

(d) the declining importance of handicrafts

Explanation: This detail highlights an economic and social contribution that might otherwise go unnoticed, since such home-based work is often less visible than formal, factory-based industry.

Very Short Answer: Why might the writer have chosen to specifically mention the role of women in Gujarat’s pankha-making tradition?

Answer: The writer likely mentions this specifically to acknowledge and give due credit to the significant, often under-recognised economic and cultural contribution that home-based women workers make to preserving this traditional craft.

Extract 4

“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… One of the first steps to preserve the essence of the craft is by celebrating pankhas, and appreciating the culture, stories, and artistry that this handicraft invokes.”

1. The phrase ‘winds of change’ referenced in the chapter’s title is most directly reflected in this extract through:

(a) the description of ancient royal courts

(b) the discussion of technology threatening the pankha’s survival  ✓

(c) the description of Rajasthan’s temple hand fans

(d) the mention of Gujarat’s women workers

Explanation: This extract directly addresses the transformative, and potentially threatening, ‘winds of change’ brought about by modern technology, which is central to the chapter’s title.

2. The writer’s suggested solution — ‘celebrating pankhas, and appreciating the culture’ — reflects an approach that is primarily:

(a) purely economic, ignoring cultural value

(b) cultural and awareness-based, alongside practical support for artisans  ✓

(c) focused only on banning modern technology

(d) indifferent to the craft’s survival

Explanation: The writer’s proposed solution combines cultural appreciation with practical initiatives, showing a balanced, awareness-based approach to preservation.

3. The tone of this extract can best be described as:

(a) purely pessimistic and without hope

(b) concerned, yet constructive and hopeful  ✓

(c) indifferent and detached

(d) harshly critical of modern artisans

Explanation: While the extract acknowledges a genuine risk to the craft, it also proposes constructive solutions, reflecting a tone of concern balanced with hope.

Very Short Answer: According to this extract, what is the first step towards preserving the pankha’s cultural legacy?

Answer: According to the extract, the first step towards preservation is celebrating pankhas and appreciating the culture, stories and artistry that this handicraft represents, since this recognition allows contemporary artisans to showcase their skill and regain popularity.

Section B: Short Answer Questions (40–50 words)

1. What historical evidence does the chapter provide for the ancient use of the pankhi in India?

Answer: The chapter cites Buddhist wall paintings at Ajanta, dating back to the 2nd century CE, as direct evidence of the pankhi’s ancient use. It also notes that further representations of the punkha survive in embroidery work, sculptures and carvings from various periods.

2. How does the appliqué hand fan of Rajasthan differ from the zardozi hand fan?

Answer: The appliqué hand fan is made of pieces of fabric in different shapes and patterns sewn onto another cloth using ornamental needlework, whereas the zardozi hand fan is distinguished by its glittering, ornate and encrusted gold threadwork, giving it a richer, more luxurious appearance.

3. What makes Gujarat’s beads hand fan distinctive?

Answer: Gujarat’s beads hand fan is covered with colourful beads and fitted with a silver handle. It reflects Gujarat’s status as the centre of bead craft in India, and these dainty pankhas are commonly used as decorative wall pieces rather than for everyday use.

4. Why are Bengal’s sola hand fans considered delicate?

Answer: Bengal’s sola hand fans are made from the milky-white spongy centre of the sola plant, a lightweight and soft natural material that gives the fans their characteristic delicacy, while still allowing them to be easily carried and kept as household possessions.

5. What risk does modern technology pose to the traditional craft of pankha-making?

Answer: Modern technology and innovative creations risk causing the beautiful culture of pankhas to slowly lose its presence among Indians, as newer, more convenient alternatives such as electric fans reduce the everyday necessity of traditional hand fans.

Section C: Long Answer Questions (120–150 words)

Extrapolation Questions

1. How can the story of the pankha inspire the preservation of other traditional Indian crafts facing similar challenges today?

Answer: The story of the pankha offers a useful model for preserving other traditional Indian crafts under threat from modernisation. Just as the chapter suggests that celebrating pankhas and appreciating their history is a vital first step, other endangered crafts could similarly benefit from public awareness campaigns, exhibitions and storytelling that highlight their cultural significance rather than treating them merely as outdated objects. The chapter also demonstrates the importance of providing artisans with a genuine commercial platform through initiatives such as workshops, showing that cultural preservation must be paired with practical economic support if a craft is to survive. Applied more broadly, this two-part approach — cultural appreciation combined with sustainable livelihood opportunities — could help many of India’s traditional crafts, from pottery to weaving, adapt to modern times without losing their essential identity and heritage value.

2. Discuss how the pankha’s transformation from a ritual object to a decorative craft reflects broader changes in Indian society.

Answer: The pankha’s transformation closely mirrors wider shifts in Indian society over the centuries. Its ancient use in temples and royal courts reflects a time when craft objects were deeply embedded in religious and social hierarchy, reserved for sacred or elite purposes. Its later spread as a widely traded, commonly used household item reflects the gradual democratisation of goods once considered exotic or luxurious. Finally, its current status as a largely decorative object, threatened by technology such as electric fans, mirrors the broader impact of industrialisation and modern convenience on traditional ways of life across India. In this way, the humble pankha becomes a useful lens through which to observe larger historical patterns of religious, social and technological change within Indian society as a whole.

Theme and Character Questions

3. Discuss the theme of regional diversity within a shared national tradition, with reference to the chapter.

Answer: The theme of regional diversity within a shared national tradition runs throughout the chapter, as the writer demonstrates that although the pankha served a common, universal purpose across India, each region developed its own highly distinctive interpretation of the craft. Rajasthan’s ornate zardozi and appliqué fans, Gujarat’s mirror-work and beaded fans, Bengal’s delicate sola fans, and Bihar’s sturdy bamboo fans each reflect the particular materials, skills and aesthetic sensibilities available in their own locality. Rather than presenting this diversity as a source of division, the chapter frames it as a strength, illustrating how a single, shared cultural practice can flourish into a rich mosaic of regional expression, unified by common purpose yet distinguished by local identity.

4. Examine the role of artisans, particularly women artisans, in sustaining the pankha tradition, as presented in the chapter.

Answer: Artisans are presented throughout the chapter as the true custodians of the pankha tradition, whose skill and dedication have kept this craft alive across generations. The specific mention of Gujarat’s ‘industrious home-based women workers’, who have ‘worked tirelessly’ to produce embroidered hand fans, highlights the often under-recognised contribution that women make to sustaining traditional handicrafts from within their own homes. By naming this contribution explicitly, the chapter draws attention to a wider truth about many Indian craft traditions, in which the labour of women artisans, though frequently informal and undervalued, is essential to a craft’s continued survival, making their recognition and support a crucial part of any effort to preserve the pankha for the future.

Section D: Case-Based Questions (Competency-Based)

Case 1: A Traditional Craft Losing Relevance

Case: A village famous for a particular handloom weaving tradition finds that younger generations are no longer interested in learning the craft, as cheap, machine-made cloth is easily and affordably available in the market.

Drawing on the chapter’s discussion of the pankha, suggest how this weaving tradition might be preserved.

Answer: Drawing directly on the chapter’s approach to the pankha, this weaving tradition could be preserved by first celebrating the craft and raising awareness of its history, artistry and cultural significance, much as the chapter suggests doing for pankhas, so that younger generations come to see the craft as a valuable heritage rather than an outdated skill. Practical initiatives such as weaving workshops, similar to the pankha-making workshops mentioned in the chapter, could then provide hands-on training and help revive interest among young people. Just as the chapter shows how pankha-making has become a source of livelihood for artisans, creating a genuine commercial platform for handloom weavers — through exhibitions, fair pricing, or direct sales to appreciative buyers — would give younger generations a real economic incentive to continue the tradition, rather than abandoning it for less meaningful but more convenient alternatives.

Case 2: Balancing Tradition with Modern Demand

Case: An artisan community that makes traditional clay pots is struggling to sell their products, as most households now prefer cheaper, mass-produced plastic and steel containers.

Using ideas from the pankha’s story, suggest how this community might adapt while still preserving their traditional skill.

Answer: Much like the pankha, which shifted from a purely functional object to a valued decorative and cultural item, this pottery community could adapt by reframing their clay pots as artistic, eco-friendly or culturally significant products rather than competing directly with cheap, mass-produced containers on price alone. The chapter’s emphasis on ‘innovative creations’ suggests that introducing contemporary designs, alongside traditional techniques, could help attract buyers seeking unique, handcrafted items rather than purely utilitarian ones. Additionally, following the chapter’s suggestion that awareness and celebration are key to preservation, the community could organise exhibitions or workshops to educate the public about the skill and heritage behind their craft, helping to build the kind of appreciative market that has, according to the chapter, slightly increased demand for varied pankha designs in recent years.

Case 3: Recognising Overlooked Artisans

Case: A group of home-based women embroiderers produces high-quality traditional textiles, but their work goes largely unrecognised and poorly paid because it is sold through several layers of middlemen before reaching customers.

Based on the chapter’s treatment of Gujarat’s women pankha-makers, how might this situation be improved?

Answer: The chapter’s specific recognition of Gujarat’s ‘industrious home-based women workers’ as central to the pankha tradition offers a useful model for addressing this situation, since it shows the importance of publicly acknowledging and valuing the labour of home-based artisans rather than allowing their contribution to remain invisible. Practically, this recognition could be extended by creating more direct market platforms — such as artisan-led exhibitions, cooperative selling initiatives, or handicraft fairs similar to those mentioned in the chapter — that allow these embroiderers to sell their work without relying on multiple middlemen who reduce their earnings. Greater public awareness of their skill and the authenticity of their work, much as the chapter urges for pankhas, would also help build a customer base willing to pay fairer prices directly connected to the true value of their craftsmanship.

Section E: Higher-Order Thinking Questions (HOTS)

Analytical Thinking

1. Analyse how the chapter’s structure — moving from ancient history, through regional traditions, to modern challenges — supports its overall argument.

Answer: The chapter’s structure mirrors the pankha’s own historical journey, moving methodically from its ancient ritual origins, through its flourishing regional diversity, to its present-day vulnerability. This chronological and geographical organisation allows the reader to appreciate the depth and richness of the tradition before confronting the concerns raised in the final section, making the argument for preservation feel earned rather than abrupt. By building a detailed picture of the pankha’s cultural value first, the structure strengthens the persuasive force of the writer’s concluding call to celebrate and support this endangered craft.

2. Compare the treatment of Rajasthan’s and Gujarat’s pankha traditions, and evaluate what this comparison reveals about regional craftsmanship in India.

Answer: Rajasthan’s pankha traditions, such as the zardozi and appliqué fans, are described through their ornate materials and needlework, reflecting the region’s association with royal courts and elaborate decorative arts, while Gujarat’s traditions, particularly its mirror-work and beaded fans, reflect the region’s specific renown as a centre for bead and mirror craft. This comparison reveals that regional craftsmanship in India is not arbitrary but deeply connected to each area’s particular artistic heritage and available materials, showing that India’s craft diversity is rooted in genuine, distinct local histories rather than superficial stylistic variation alone.

Evaluation-Based Questions

3. Do you think the chapter successfully balances celebration of the pankha’s heritage with realistic concern for its future? Justify your answer.

Answer: Yes, the chapter largely succeeds in balancing celebration with realistic concern, since it devotes substantial detail to admiring the pankha’s history, regional diversity and craftsmanship before turning, in its final section, to a clear-eyed acknowledgement of the risks posed by modern technology. This structure prevents the piece from reading as either naively nostalgic or purely pessimistic, instead presenting a balanced, constructive perspective that both honours the tradition and takes its potential decline seriously enough to propose practical solutions such as workshops and exhibitions.

4. Evaluate whether celebrating and exhibiting a craft, as the chapter suggests, is sufficient on its own to guarantee its survival.

Answer: Celebrating and exhibiting a craft, as the chapter proposes, is a valuable but likely insufficient measure on its own to guarantee its survival, since public appreciation does not automatically translate into the sustained economic demand artisans need to continue practising their craft full-time. While such awareness-building efforts can attract interest and open up new markets, as the chapter suggests, they would likely need to be paired with additional, longer-term support — such as fair pricing structures, skill-transfer programmes to train new artisans, and sustained institutional backing — for the pankha tradition to survive beyond a temporary revival of interest.

Application-Based Questions

5. Suggest how a school might use the ideas in this chapter to promote awareness of local traditional crafts.

Answer: Drawing directly on the chapter’s own approach, a school could organise an exhibition or ‘craft week’ in which students research and display information about traditional crafts from their own region, much as the chapter documents different states’ pankha traditions in turn. Inviting local artisans to run hands-on workshops, similar to the pankha-making workshops mentioned in the chapter, would allow students to experience the skill involved directly, while a follow-up presentation or written reflection could encourage students to consider practical ways of supporting these crafts, echoing the chapter’s own emphasis on combining cultural appreciation with genuine economic support for artisans.

6. If you were designing a museum exhibit on the pankha based on this chapter, what sections would you include and why?

Answer: Following the chapter’s own structure, I would divide the exhibit into three main sections: an ‘Origins’ section featuring reproductions of Ajanta-style imagery and information on the pankha’s ritual and royal uses in ancient India; a ‘Regional Traditions’ section displaying examples of Rajasthan’s zardozi and appliqué fans, Gujarat’s mirror-work and beaded fans, Bengal’s sola fans, and other regional styles side by side, to highlight India’s remarkable craft diversity; and a concluding ‘Craft in Crisis’ section explaining the challenges posed by modern technology alongside current preservation initiatives, inviting visitors to support contemporary artisans directly, thereby transforming passive appreciation into active engagement with the craft’s survival.

Assertion–Reason Questions

1. Assertion (A): Pankhas are considered a testimony to the cultural identity of a region. Reason (R): Each region uses distinct materials and designs shaped by its own local traditions.

(a) Both A and R are true, and R is the correct explanation of A  ✓

(b) Both A and R are true, but R is not the correct explanation of A

(c) A is true, but R is false

(d) A is false, but R is true

Explanation: Since each region’s pankhas are shaped directly by its own distinctive materials and artistic traditions, this regional individuality is precisely what allows pankhas to reflect and testify to local cultural identity.

2. Assertion (A): The pankha tradition faces no real threat in modern India. Reason (R): The advent of technology and innovative creations has provided people with more convenient cooling alternatives.

(a) Both A and R are true, and R is the correct explanation of A

(b) A is false, but R is true  ✓

(c) Both A and R are true, but R is not the correct explanation of A

(d) A is true, but R is false

Explanation: The chapter explicitly states that pankhas run the risk of losing their presence among Indians due to technology, making Assertion A false, while Reason R accurately identifies the cause of this genuine threat.

Section F: Language and Literature (Competency-Based)

Q1. Explain the significance of the title ‘Winds of Change’ in relation to the content of the chapter.

Answer: The title ‘Winds of Change’ operates on two levels of meaning. Literally, it evokes the pankha’s basic function of creating a cooling breeze or wind through hand-powered movement. Figuratively, it refers to the sweeping historical changes the craft has undergone — from a ritual and royal object, to a widely traded good, to a modern decorative item now threatened by technology. This dual meaning makes the title especially effective, as it connects the humble, everyday object at the centre of the chapter to the much larger forces of historical and cultural change that have shaped its journey.

Q2. Identify two examples of precise, descriptive vocabulary used in the chapter and explain their effect.

Answer: One clear example is the phrase ‘glittering ornate and encrusted gold threadwork’, used to describe Rajasthan’s zardozi hand fan, which creates a vivid, luxurious visual image of the fan’s intricate decoration. A second example is ‘milky-white spongy centre of the sola’, used to describe the material behind Bengal’s delicate hand fans, which conveys both the texture and appearance of this unusual natural material with real precision. Together, such descriptive vocabulary helps the reader visualise unfamiliar regional crafts clearly and appreciate the fine detail involved in their construction.

Q3. How does the writer use geographical organisation as a structural device in this chapter, and what effect does it create?

Answer: The writer organises the central portion of the chapter geographically, moving systematically from Rajasthan to Gujarat, then to West Bengal, Uttar Pradesh, Odisha, Bihar and various tribal communities. This structure allows each region’s distinctive pankha tradition to be presented clearly and individually, preventing the wealth of regional detail from becoming confusing, while also reinforcing the chapter’s underlying theme of unity within diversity, as the reader steadily builds a picture of a single craft expressed in many different regional forms across India.

Q4. A student claims, ‘The chapter is written in a narrative style, similar to a short story.’ Is this correct? Justify your answer.

Answer: This claim is incorrect. The chapter is written in an expository, informational style rather than a narrative one, since it presents factual information about the pankha’s history, regional varieties and modern challenges without following any individual characters, plot or storyline. Unlike a short story, which typically centres on characters experiencing a sequence of events, this chapter is organised chronologically and geographically around factual content, making it closer to a documentary or research-based article than a work of narrative fiction.

Q5. Explain how the writer’s use of contrast between ancient and modern uses of the pankha strengthens the chapter’s message.

Answer: The writer contrasts the pankha’s ancient, ritual and royal significance with its diminished, largely decorative role in modern India, and this contrast strengthens the chapter’s message by making the scale of change — and the potential loss involved — much clearer to the reader. By first establishing how deeply significant the pankha once was, the writer ensures that the later discussion of its declining presence carries greater emotional and cultural weight, reinforcing the case for active preservation rather than simply presenting the craft’s decline as a neutral, inevitable fact.

Q6. Identify the tone of the chapter’s concluding paragraphs and explain how it is achieved through the writer’s choice of language.

Answer: The tone of the concluding paragraphs is concerned yet constructive, achieved through language that first acknowledges risk — ‘runs the risk of slowly losing its presence’ — before pivoting towards positive, solution-focused vocabulary such as ‘celebrating’, ‘appreciating’ and ‘sustainable livelihood’. This careful balance of cautionary and hopeful language avoids leaving the reader with a purely negative impression, instead encouraging active engagement with the craft’s preservation.

Q7. Why might the writer have chosen to include specific technical terms, such as ‘zardozi’, ‘appliqué’ and ‘Tal Patar Pankha’, rather than describing these fans only in general terms?

Answer: Including specific technical and regional terms lends the chapter authenticity and precision, showing that the information is well-researched and rooted in genuine cultural knowledge rather than vague generalisation. These terms also allow readers to encounter and remember the correct names associated with each regional craft, which is particularly valuable in an informational text whose purpose is partly educational, helping to build genuine cultural literacy rather than a merely superficial impression of India’s pankha traditions.

Q8. Comment on the effectiveness of the chapter’s closing focus on preservation initiatives, such as pankha-making workshops, as a conclusion to the text.

Answer: Ending the chapter with a focus on preservation initiatives is an effective structural and rhetorical choice, since it moves the piece beyond simply documenting the pankha’s history and diversity towards a forward-looking, action-oriented conclusion. Rather than leaving the reader with only a sense of nostalgia or concern about the craft’s decline, this ending offers concrete, hopeful examples of how the tradition might be sustained, leaving a stronger, more purposeful final impression that aligns closely with the chapter’s implicit goal of encouraging genuine cultural preservation.

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