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Winds of Change | Class 9 English | Detailed Explanation With Summary & NCERT Solution
- M
- 1 day ago
- 18 min read
Updated: 10 hours ago
Lesson Architecture
Introduction Theme
Introduction
Winds of Change is an expository article — meaning it is a factual, informational piece of writing — and its author is not named in the textbook.
It is presented as an educational article about the traditional Indian handicraft of the pankha (hand fan).
Anonymous articles of this kind are common in textbooks and encyclopaedic writing, where the focus is on the subject matter rather than on a personal authorial voice.
The article draws on research about Indian craft traditions, regional culture, and the socio-economic challenges facing artisans in modern India.
It is written in a clear, informative style with a tone of quiet celebration and concern — celebrating the beauty and diversity of the pankha craft while warning of the risk of its disappearance in the modern age.
Theme
The central theme of Winds of Change is the cultural significance of traditional crafts and the urgent need to preserve them in the face of modernisation.
The pankha (hand fan) is not merely a cooling device in this article — it is a symbol of India's artistic heritage, regional identity, and the skilled labour of generations of craftspersons.
The article uses the pankha to explore several interconnected themes:
Cultural Identity and Heritage Every variety of pankha — from Rajasthan's zardozi fans to Bengal's sola fans — reflects the cultural soul of the region that makes it. The pankha is not just a craft; it is a story. It carries within it the history, aesthetics, rituals, and identity of its community.
Tradition Versus Modernity The arrival of electric fans and modern technology has displaced the pankha from everyday use. It has moved from a household necessity to a decorative item. This shift represents a broader tension in Indian society between preserving traditional ways of life and adapting to modern, technological convenience.
Livelihood and Sustainability The article highlights that for many artisans — especially women in Gujarat and craftspeople in Bengal, Rajasthan, and Uttar Pradesh — pankha-making is not just a cultural activity but a source of income. Preserving the craft means preserving the livelihoods of thousands of skilled workers.
Celebration as Preservation One of the article's most important ideas is that the first step to saving a dying craft is to celebrate it — to create awareness, appreciation, and demand. Workshops, exhibitions, and public interest are shown as practical tools for keeping the craft alive.
Socio-Cultural Context
To fully appreciate Winds of Change, it is important to understand the Indian cultural and historical background of the pankha.
The Origin of the Word
The word punkha or pankha comes from pankh, meaning a feather of a bird. A pankha refers to all fans, while pankhi specifically refers to a small, plumed fan used in ancient India. This linguistic root connects the fan to nature — specifically to the lightness and elegance of a bird's feather.
Ancient History
The pankha has a history going back to at least the 2nd century CE. Evidence of its use has been found in Buddhist wall paintings at Ajanta, one of India's greatest archaeological and artistic heritage sites.
Pankhas appear in embroidery work, sculptures, and carvings from ancient India. In ancient times, they served a ceremonial and royal purpose — used in temples to fan deities and in royal courts to fan kings.
Regional Craft Traditions
India's diverse regional cultures each developed their own distinct styles of pankha using locally available materials:
Rajasthan is known for the appliqué fan, zardozi (gold threadwork) fans, and brass-engraved temple fans.
Gujarat specialises in mirror-work cotton fans, colourful bead fans, and Kutch's hand-stitched leather fans.
Bengal (West Bengal) is known for delicate sola (water grass) fans and Tal Patar Pankha (palm leaf fans).
Uttar Pradesh produces the elaborate Phadh fans decorated with gold zari, silk, and satin.
Bihar is known for colourful, sturdy bamboo fans.
Tribal communities across India use grass, metal, cane, and palm leaves with geometric patterns and striking colour combinations.
Trade and Cultural Exchange Over centuries, pankhas became significant trade goods, travelling through India's trade routes. They were considered exotic and stylish, and their widespread use across India despite regional differences indicates a shared cultural appreciation for this object.
Women Artisans A crucial socio-cultural point in the article is the role of home-based women workers — particularly in Gujarat — who have sustained the pankha-making craft for generations. Their tireless work in embroidery, mirror work, and cross-stitch has kept the tradition alive. This highlights the often-invisible contribution of women to India's craft economy.
Modern Threat With the invention of electric fans, ceiling fans, and air conditioning, the need for manual hand fans has declined sharply. The pankha has largely moved from daily use to the realm of decorative art and tourist handicraft. This is a pattern seen across many traditional crafts in India — and the article's concern is both cultural and economic.
Summary
Winds of Change is an expository article that traces the history, regional variety, and present-day challenges of the Indian traditional hand fan — the pankha.
The Origin The article begins by explaining the etymology of the word pankha — derived from pankh (feather). It distinguishes between pankha (all fans) and the ancient pankhi (a small plumed fan). The article notes that evidence of pankhas in India dates back to the 2nd century CE through Buddhist wall paintings at Ajanta. Ancient pankhas were used in temples and royal courts, and varied in size from tiny two-inch fans to large ones requiring a person's full arm strength.
Cultural Significance Over time, pankhas became significant cultural goods traded across India. They were considered exotic and stylish. While there was some commonality in their use across the country, different regions developed their own distinct varieties using local materials — bamboo, cane, palm leaf, silk, brass, leather, silver — with intricate regional designs.
Regional Varieties The article then takes the reader on a regional tour of India's pankha traditions:
In Rajasthan, the appliqué hand fan is made of fabric pieces sewn onto cloth with ornamental needlework. The zardozi fan features glittering gold threadwork. Temple hand fans are made of engraved brass with long handles. The painted hand fan is a cardboard pankha with religious imagery, offered to gods.
In Gujarat, elegant cotton fans with mirror work, colourful bead fans with silver handles, and hand-stitched Kutch leather fans decorated with thread and wool are produced. Gujarat is India's centre for bead craft, and its home-based women workers have played a crucial role in sustaining this tradition through embroidery and cross-stitch work.
Bengal's artisans craft delicate pankhas from the spongy white centre of the sola (a type of water grass). Palm leaf fans, called Tal Patar Pankha, are also common and are prized possessions in Bengali households.
Uttar Pradesh produces the Phadh fan, adorned with gold, silver zari, silk, and satin frills. Bihar is known for its colourful, sturdy bamboo fans. Tribal communities across India create their own versions using grass, metal, bamboo sticks, cane, and palm leaves, often featuring geometric patterns and striking white-on-red designs.
The Modern Challenge The article then turns to the present. With the spread of technology and innovative creations, the pankha culture risks slowly losing its presence among Indians. Once made for personal use, pankha-making has transformed into a commercial business providing livelihoods to artisans. The slight increase in popularity and demand for pankhas is being driven by the growing variety of versions being crafted.
The Way Forward The article concludes with a call to action. One of the first steps to preserve the craft is to celebrate it — to appreciate the culture, stories, and artistry that pankha-making represents. This allows contemporary pankha makers to demonstrate their craft, regain its popularity, and build a sustainable livelihood. Initiatives such as pankha-making workshops — both within and outside handicraft exhibitions — can help spread awareness about the beauty and importance of this craft in India's culture.
Paragraph-wise Easy English Translation | Detailed Explanation
Page 70 — Paragraph 1: The Origin of the Pankha
Original Text: The word punkha or pankha originates from the word 'pankh', which means feather of a bird. Pankha is used to refer to all fans, whereas the word pankhi denotes a small plumed fan used in ancient India. 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. Other representations of the punkha can be found in embroidery work, sculptures, and carvings. In ancient times, pankhas were used in temples to fan deities. They were also used in royal courts to fan kings. Pankhas varied in size from a tiny two inch one to large ones requiring a person's full arm strength to move them.
Easy English: The words "punkha" and "pankha" come from the word "pankh," which means a bird's feather. The word "pankha" is used for all types of fans, while "pankhi" refers to a small, decorated fan that was used in ancient India. We know that pankhas existed in ancient India because they appear in Buddhist wall paintings at Ajanta — paintings that are about 2,000 years old (2nd century CE). Pictures of pankhas also appear in old Indian embroidery, sculptures, and stone carvings. In ancient times, pankhas were used to fan gods in temples and to fan kings in their royal courts. They came in many sizes — from tiny two-inch fans to very large ones that needed the full strength of a person's arm to wave.
Page 70 — Paragraph 2: Pankhas as Cultural Goods
Original Text: 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. Bamboo, cane, palm leaf, silk, brass, leather, and silver pankhas, with decorative beads and stones were used depending on geographies, cultures, and traditional rituals.
Easy English: Over time, pankhas became important cultural items that were bought and sold across India through trade routes. They were seen as unusual and fashionable. Although pankhas were used all over India, different villages and towns created their own special styles. Each place made pankhas using different materials or different patterns and designs, making their pankhas unique and recognisable. Depending on the region, pankhas were made from bamboo, cane, palm leaves, silk, brass, leather, or silver — and were often decorated with beads and gemstones.
Page 71 — Paragraph 3: Modern Use and Rajasthan's Varieties
Original Text: In modern times, the use of pankhas has been restricted to decorative purposes, and they have become traditional craft items in India. The structure of each fan reflects the cultural core of the region that crafts it. For instance, the appliqué hand fan of Rajasthan is an antique pankha made of pieces of fabric in different shapes and patterns sewn onto another cloth with the use of ornamental needlework. 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. The painted hand fan, a cardboard pankha featuring various images, is usually offered to gods.
Easy English: In today's world, pankhas are mostly used as decorative items — they are no longer used for cooling in daily life. They have become traditional craft objects that represent India's heritage. Each fan's design reflects the culture of the region that makes it. For example, Rajasthan's appliqué hand fan is an old-style pankha made by cutting fabric into different shapes and patterns and sewing them onto another piece of cloth with beautiful needlework. A different Rajasthani fan — the zardozi fan — is decorated with shiny, golden embroidery thread. Rajasthan also has temple hand fans made by carving designs into brass, with a long handle attached. Another Rajasthani style is the painted fan — made from cardboard and decorated with religious images — which is usually offered to gods as a gift.
Page 71–72 — Paragraph 4: Gujarat's Varieties
Original Text: The adjoining state of Gujarat has its own indigenous take on pankhas. These hand fans are elegant pure cotton-based fans embellished with mirror work. The beads hand fan is covered with colourful beads and has a silver handle. Gujarat is the centre for bead craft in India and these dainty pankhas are commonly used as wall decorations. Kutch is recognised for its hand-stitched leather hand fans decorated with thread and wool at its seams. 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.
Easy English: The neighbouring state of Gujarat has its own unique style of pankhas. Gujarat's fans are made from pure, soft cotton and decorated with small mirrors sewn onto the fabric — giving them a sparkling, elegant look. Another Gujarat style is the bead fan — covered entirely with colourful beads and fitted with a silver handle. Since Gujarat is India's leading centre for bead craftsmanship, these small, pretty fans are often hung on walls as decorations. The Kutch region of Gujarat is particularly known for its leather fans, hand-stitched and decorated with thread and wool along the edges. The home-based women workers of Gujarat deserve special mention — working quietly and tirelessly, they have kept the pankha tradition alive by producing beautifully embroidered fans with mirror work and cross-stitch patterns in many shapes and sizes.
Page 72 — Paragraph 5: Bengal, UP, Bihar, and Tribal Fans
Original Text: Artisans in Bengal make delicate pankhas from the beautiful milky-white spongy centre of the sola. The palm leaf hand fans are locally referred to as Tal Patar Pankha. They are easy to carry and are perpetually kept as an article of possession in Bengali households. Other states in India have their own variations of fans as well. The Phadh hand fans of Uttar Pradesh are adorned with pure gold, silver zari, silk, and satin frills. The large palm leaf fans of Odisha as well as Bihar's colourful and sturdy bamboo hand fans, are all recognised across India due to their antiquity and rarity. Many tribes in India have adopted this handicraft to make their own versions of the handheld fan. Materials such as grass and metal are embedded into the fans using bamboo sticks and grass. Cane and palm leaves are used, with silk and brass being reserved for antique pieces of these hand fans. The use of geometrical patterns and the white ink and red background combinations have helped the tribes create multiple beautifully designed pankhas.
Easy English: Artisans in Bengal make delicate, soft pankhas from the milky-white, spongy inside part of a plant called sola (a type of water grass). Bengal's palm leaf fans are called Tal Patar Pankha. They are light and easy to carry, and they are found in almost every Bengali household — kept as a cherished possession. Other states also have their own famous pankha styles. The Phadh fans of Uttar Pradesh are richly decorated with gold, silver zari (fine metallic thread), silk, and satin frills — making them among the most ornate in India. The large palm leaf fans of Odisha and the colourful, strong bamboo fans of Bihar are famous across India because of their great age and rarity. Tribal communities across India also make their own versions of hand fans using grass, metal, bamboo sticks, cane, and palm leaves. They reserve silk and brass for their most special, antique pieces. Tribes often use bold geometric patterns and striking white-on-red designs to create beautifully unique pankhas.
Page 72–73 — Paragraph 6: The Modern Challenge and Way Forward
Original Text: 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. 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. This allows contemporary pankha makers to demonstrate their craft and regain its popularity. It also helps provide them with a commercial platform to create a sustainable livelihood. Initiatives such as pankha-making workshops, both within and outside the handicraft exhibitions help spread awareness about the beauty and importance of this craft in India's culture.
Easy English: As time has passed and electric fans, coolers, and air conditioners have become common, the traditional pankha is slowly disappearing from Indian homes. What was once made for personal, daily use has now become a commercial handicraft business — and for many artisans, it still provides an income. The small but growing increase in demand for pankhas is largely because craftspeople are now making new and varied styles that appeal to modern buyers. The best way to save this craft is to celebrate it — to take an interest in the culture, stories, and skill behind each pankha. When people appreciate pankhas, contemporary craftspeople get a chance to show their work and find new audiences. This appreciation also creates business opportunities that help artisans earn a steady and sustainable living. Events such as pankha-making workshops — both as part of handicraft exhibitions and outside them — can help spread awareness among people about how beautiful and culturally important this craft truly is.
Vocabulary in Context — Page-wise
Page 69–70 — Words from the Pre-Reading Activity (Reflect and Respond)
These words are taken from the paragraph about a crafts fair and are used to build vocabulary before reading the article.
Word | Meaning | Example Sentence |
Indigenous | Local; originally from the place where it is found | The Warli painting is an indigenous art form of Maharashtra. |
Innovative | New and original in its approach or design | The designer came up with an innovative way to use recycled fabric. |
Industrious | Hardworking; diligent | The industrious women of Kutch have kept the leather pankha tradition alive for generations. |
Intricate | Elaborate and detailed; made up of many small, complex parts | The zardozi fan has an intricate pattern of gold threads and beads. |
Invoked | Brought out; aroused or called up a feeling or memory | The sight of the old pankha invoked a sense of nostalgia in her. |
Initiatives | Actions taken to improve a situation or start something new | The government has taken several initiatives to promote traditional crafts at national exhibitions. |
Page 71 — Words from the Rajasthan Section
Word | Meaning | Example Sentence |
Appliqué | A craft technique where cut pieces of fabric are sewn onto a base cloth to create a pattern | The appliqué bedcover was made from dozens of small triangular patches of silk. |
Ornamental | Decorative; used to make something look beautiful | The temple fan had an ornamental border of silver thread. |
Zardozi | A form of heavy metallic embroidery using gold or silver thread | The zardozi shawl was so richly worked with gold thread that it shimmered in the light. |
Encrusted | Covered or decorated with something embedded on the surface | The handle of the fan was encrusted with tiny gemstones. |
Engraving | Cutting or carving a design into a hard surface | The brass temple fan had intricate engraving of lotus flowers on its surface. |
Page 71–72 — Words from the Gujarat Section
Word | Meaning | Example Sentence |
Embellished | Decorated; made more attractive by adding ornaments | The cotton fan was embellished with coloured mirrors and golden thread. |
Dainty | Delicately small and pretty | The dainty bead fan was so fine that it looked like a piece of jewellery. |
Tirelessly | Without stopping; with great energy and effort | The weavers worked tirelessly to complete their orders before the festival season. |
Page 72 — Words from the Bengal, UP, Bihar, and Tribal Section
Word | Meaning | Example Sentence |
Sola | A type of water grass whose spongy white centre is used in crafts | Sola pith is also used to make traditional Bengali wedding decorations. |
Perpetually | Constantly; without stopping; always | The old clock in the hallway perpetually ticked, marking every second of the day. |
Adorned | Decorated; made beautiful with additions | The Phadri fan was adorned with golden zari and silk frills. |
Antiquity | Great age; belonging to the distant past | The bamboo fans of Bihar are famous for their antiquity — they have been made for hundreds of years. |
Embedded | Fixed firmly inside something; set into a surface | Grass and metal were embedded into the fan using bamboo sticks. |
Page 72–73 — Words from the Modern Challenges Section
Word | Meaning | Example Sentence |
Advent | The arrival or beginning of something important | The advent of mobile phones changed the way people communicate. |
Sustainable | Able to be maintained over a long period without causing damage or running out of resources | The workshop helped artisans build a sustainable livelihood by connecting them with buyers across the country. |
Contemporary | Belonging to the present time; modern | Contemporary pankha makers are combining traditional designs with new materials to attract modern buyers. |
Commercial | Related to buying and selling; intended for profit | Pankha-making has evolved from a household craft into a commercial business that supports many families. |
Livelihood | The means by which a person earns money to live | For many women in Gujarat, pankha embroidery is their primary source of livelihood. |
Message of the Story
Winds of Change leaves the reader with several important messages that are relevant not just to pankhas but to the entire tradition of Indian handicrafts and to life more broadly.
Traditional crafts are living history. The pankha is not simply a fan — it is a record of the culture, climate, religion, and artistic tradition of the region that made it. When a craft disappears, the history and identity stored within it disappears too. We must recognise that objects like pankhas carry stories that no textbook can fully capture.
Every craft deserves respect and preservation. The article gently challenges the modern tendency to discard old things in favour of new, convenient alternatives. An electric fan may cool a room more efficiently — but it cannot carry the artistry of a Rajasthani zardozi fan or the quiet elegance of a Bengali sola pankha. Efficiency and beauty serve different human needs.
The artisan's work is cultural work. The women of Gujarat, the artisans of Bengal, the tribal craftspeople of central India — they are not just making objects for sale. They are keeping alive a form of knowledge, a set of skills, and a cultural language that would otherwise be lost. Their work deserves recognition and economic support.
Celebration is the first step to preservation. One of the article's most practical and hopeful messages is that appreciation creates demand, and demand creates livelihood. When people take interest in traditional crafts — visit exhibitions, buy handmade pankhas, attend workshops — they directly support the artisans and the craft's survival. This is something every individual can do.
Change is inevitable, but wisdom lies in balance. The title Winds of Change captures this message perfectly. Change is natural and unstoppable — new technologies will always arrive. But wisdom lies in finding a balance between the new and the old, between convenience and culture. India's greatest strength has always been its ability to hold both together.
From The Last Leaf: Art has the power to save lives. Behrman's painted leaf — made in one cold, stormy night at the cost of his life — becomes Johnsy's reason to live. This reminds us that the purpose of art and craft goes far beyond decoration. At its deepest, art connects people to life itself.
"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." — Winds of Change, Kaveri: Grade 9, NCERT 2026
NCERT Solution
Critical Reflection ( Page 74-76)
I Read the extracts given below and answer the questions that follow.
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: True.
(ii) Why has the word ‘traditional’ been used to describe pankhas?
Answer: Because pankhas have been made and used in India for generations using indigenous materials and techniques, reflecting long-standing cultural practices.
(iii) Complete the following statement.
The sentence ‘They were considered exotic and stylish’ is an opinion and not a fact because __
Answer: it reflects personal judgement and cannot be universally proven.
(iv) Infer one reason for commonality in the use of pankhas across India.
Answer: The hot climate of India made pankhas a common necessity for cooling.
(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.
Answer: A. Each kind of pankha could be distinguished from the other.
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: It has reduced the practical use of pankhas, leading to a decline in their cultural presence.
(ii) Complete the statement with an appropriate reason.The writer refers to ‘pankhas’ not just as an object but as a ‘culture’ because ____________.
Answer: they represent traditions, craftsmanship, and the cultural identity of different regions.
(iii) Select a line from the extract which depicts how the role of the pankha has changed over the years.
Answer: “Once made for personal use, over time this handicraft has transformed into a commercial business.”
(iv) List one way in which the increase in demand of pankhas might benefit artisans.
Answer: It provides them with better income and livelihood opportunities.
(v) Select the factor that has contributed to the commercialisation of pankhas.
A. cultural preservation
B. economic demand
C. technological advancements
D. artisan initiative
Answer: B. economic demand
II Answer the following questions.
1. How does the title ‘Winds of Change’ capture the essence of the chapter?
Answer: The title symbolises both the literal use of pankhas and the metaphorical changes over time. It reflects how pankhas have evolved from essential cooling devices to decorative and commercial items, highlighting shifts in culture, technology, and lifestyle.
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: First, Rajasthan’s pankhas, such as appliqué and zardozi fans, use intricate fabric work and gold thread embroidery, reflecting royal craftsmanship.
Second, Gujarat’s pankhas are decorated with mirror work and beads, showcasing the region’s traditional embroidery and handicraft skills.
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: Balancing tradition with innovation can help keep pankhas relevant in modern times. Preserving traditional techniques ensures cultural continuity, while introducing new designs and uses can attract contemporary buyers. This balance can increase demand, sustain artisans’ livelihoods, and prevent the craft from fading.
4. How might initiatives such as pankha-making workshops contribute to the preservation of this traditional craft?
Answer: Such workshops spread awareness, educate people about traditional skills, and encourage participation from younger generations. They also provide artisans with platforms to showcase their work, and ensure that the craft is passed on and remains alive.
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 increases appreciation and demand for the craft. This recognition can boost artisans’ income, provide them with wider exposure, and help sustain the tradition by making it economically viable.
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 from functional use to decorative purposes shows that pankhas are no longer essential for daily life due to modern technology. Instead, they are valued as cultural artefacts, reflecting changing lifestyles and a growing appreciation for heritage and aesthetics.
To be continued… Stay tuned and keep visiting our site.
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