Chapter 3

Winds of Change

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?

II Work in pairs. Study the pictures given below carefully and complete the information. Discuss your answers with your classmates and teacher.

III Work in pairs. Match the underlined words in Column 1 with their meanings in Column 2 given on the next page. Share your answers with your classmates and teacher.

I visited the crafts fair yesterday. It was a wonderful experience. Each indigenous artefact was an innovative creation of industrious craftspersons with its intricate design. It invoked a sense of respect for the initiatives taken by the government to showcase them.

Reading for Meaning

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.

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.

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.

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.

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.

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.

Check Your Understanding

I Work in pairs to complete the table on pankha. Share your answers with your classmates and teacher.

Critical Reflection

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.

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

(iii) Complete the following statement.

The sentence ‘They were considered exotic and stylish’ is an opinion and not a fact because ______________________.

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

(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.

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.

(ii) Complete the statement with an appropriate reason.

The writer refers to ‘pankhas’ not just as an object but as a ‘culture’ because ___________.

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

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

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

A. cultural preservation

B. economic demand

C. technological advancements

D. artisan initiative

II Answer the following questions.

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

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.

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

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

6. How does the restriction of the use of pankha for decorative purposes reflect the changing cultural role of these traditional fans in modern India?

Vocabulary and Structures in Context

I Read the following pairs of words from the text.

1. Classify the pairs of words given above in the following categories. One example has been done for you.

Now, find more such word pairs from the text and share them with your classmates and teacher.

II Find the word pairs for the following fixed expressions. Write the meanings of these expressions by selecting them from the box given below. One example has been done for you.

Now, match the following meanings with the correct word pairs created above.

(i) in a difficult situation, without help or money

(ii) the damage to object due to normal use

(iii) accurate and detailed information

(iv) even when there are problems or difficulties

(v) everyone, not just a few special people

(vi) often; on many or all occasions

(vii) To make a quick or sudden escape

III Read the following word combinations from the text.

• sustainable livelihood

• aesthetically pleasing

• appreciating the culture

1. Choose the appropriate word collocations for the following sentences.

(i) The students have to (take/give) the English exam tomorrow.

(ii) The interviewer asked the candidate to (take/have) a seat.

(iii) My scooter (dashed against/ran into) a car.

(iv) I must (take/own) responsibility for my success.

(v) I would like to (tone up/improve) my grammar.

IV Read the following sentences. Underline the verbs.

1. In modern times, pankhas have become traditional craft items in India.

2. Gujarat’s industrious home-based women workers have worked tirelessly in the handicraft of pankha-making.

3. Many tribes in India have adopted this handicraft.

4. Once made for personal use, this handicraft has transformed into a commercial business.

Now, fill in the blanks with the present perfect form of verbs in the following paragraph. One example has been done for you.

Puppets have long fascinated (fascinate) audiences worldwide. Puppeteers (i) ______ (create) intricate characters and captivating stories with their skillful They (ii) __________ (master) the delicate movements artistry. that bring these lifeless figures to life, entertaining both children and adults. Over the years, puppetry (iii) ___________ (evolve), using modern technology while preserving traditional techniques. Many puppeteers (iv) __________ (pass) down their craft through generations, ensuring its continuity. They (v) ________ (perform) in theatres, on television, and at festivals, conveying important cultural narratives.

Listen and Respond

I You will listen to a dialogue between a boy and a girl discussing which type of pankha they should choose as a gift. As you listen, choose four statements out of seven that are true from 1–7 given below. (Transcript for teacher on page 263)

1. Rohan thinks Grandma prefers heavier items because they feel more substantial.

2. Priya suggests getting a pankha that can be easily moved around.

3. Rohan believes Grandma enjoys sitting in the verandah during the evenings.

4. Priya knows Grandma likes to keep special items close to her.

5. Rohan thinks a pankha with intricate designs would be too delicate for Grandma’s liking.

6. Priya suggests choosing between a bamboo pankha with beadwork or an embroidered pankha with mirror work.

7. Rohan decides they should buy the pankha without consulting their mom.

Speaking Activity

I Work in groups of four. Look at the pictures of the four different kinds of fans given below.

• Each of you in the group will pick one kind of fan.

• Imagine yourself to be that fan.

• Use the points given in the box below.

Writing Task

I Describe an artefact you have made in your craft class or learnt from someone.

Begin with collection and organisation of the facts with the help of the pointers given above. Do not include your opinion in the factual description.

Learning Beyond the Text

I Identify any art or craft item from your region and make a presentation describing its features, materials, and process involved in making it, its usage, etc. You may refer to the points given on the next page.

II You can also make your own hand fan. Take ideas from the pictures given below and in groups of four, make your own hand fan. Display the hand fans in the class and describe the process used to make it.

III You must have read stories about the impact of art, painting, etc. in your life, in English and in your own languages. Now, read and enjoy the story given below.

The Last Leaf

Sue and Johnsy, two young artists, shared a small flat. The flat was on the third storey of an old house.

Johnsy fell very seriously ill in November. She had pneumonia. She would lie in her bed without moving, just gazing out of the window. Sue, her friend, became very worried. She sent for the doctor. Although he came every day there was no change in Johnsy’s condition.

One day the doctor took Sue aside and asked her, “Is anything worrying Johnsy?”

“No,” replied Sue. “But why do you ask?”

The doctor said “Johnsy, it seems, has made up her mind that she is not going to get well. If she doesn’t want to live, medicines will not help her.”

Sue tried her best to make Johnsy take an interest in things around her. She talked about clothes and fashions, but Johnsy did not respond. Johnsy continued to lie still on her bed. Sue brought her drawing-board into Johnsy’s room and started painting. To take Johnsy’s mind off her illness, she whistled while working.

Suddenly Sue heard Johnsy whisper something. She quickly rushed to the bed and heard Johnsy counting backwards. She was looking out of the window and was saying, “Twelve!” After sometime she whispered “eleven”, then “ten”, then “nine”, “eight”, “seven”. Sue anxiously looked out of the window. She saw an old ivy creeper climbing half-way up the brick wall opposite their window. In the strong wind outside, the creeper was shedding its leaves. “What is it, dear?” Sue asked.

“Six,” whispered Johnsy. “They are falling faster now. Three days ago there were almost a hundred leaves. There are only five left now.”

“It is autumn,” said Sue, “and the leaves will fall.”

“When the last leaf falls, I will die,” said Johnsy with finality. “I have known this for the last three days.”

“Oh, that’s nonsense,” replied Sue. “What have old ivy leaves to do with your getting well? The doctor is confident that you will get better.”

Johnsy did not say anything. Sue went and brought her a bowl of soup.

“I don’t want any soup,” said Johnsy. “I am not hungry … Now there are only four leaves left. I want to see the last one fall before it gets dark. Then I will sleep forever.”

Sue sat on Johnsy’s bed, kissed her and said, “You are not going to die. I can’t draw the curtain for I need the light. I want to finish the painting and get some money for us. Please, my dear friend,” she begged Johnsy, “promise not to look out of the window while I paint.”

“All right,” said Johnsy. “Finish your painting soon for I want to see the last leaf fall. I’m tired of waiting. I have to die, so let me go away peacefully like one of those poor, tired leaves.”

“Try to sleep,” said Sue. “I have to paint an old miner. I will call Behrman up to be my model.”

Sue rushed down. Behrman lived on the ground floor.

He was a sixty-year-old painter. His lifelong dream was to paint a masterpiece but that had remained a dream. Sue poured out her worries to Behrman. She told him how Johnsy was convinced that she would die when the last leaf fell.

“Is she stupid?” asked Behrman. “How can she be so foolish?”

“She is running a high temperature,” complained Sue. “She refuses to eat or drink and that worries me a lot.”

“I will come with you and see Johnsy,” Behrman said.

They tiptoed into the room. Johnsy was sleeping. Sue drew the curtains together and they went to the next room. She peeped out through the window. There was only one leaf on the creeper. It was raining heavily and an icy-cold wind was blowing. It seemed as though the leaf would fall any minute now. Behrman did not say a word. He went back to his room.

Johnsy woke up next morning. In a feeble voice she asked Sue to draw the curtains. Sue was nervous. She drew back the curtains very reluctantly.

“Oh!” Sue exclaimed as she looked at the vine creeper. “Look, there is still one leaf on the creeper. It looks quite green and healthy. In spite of the storm and the fierce winds, it didn’t fall.”

“I heard the wind last night,” said Johnsy.

“I thought it would have fallen. It will surely fall today. Then I’ll die.”

“You won’t die,” said Sue energetically. “You have to live for your friends. What would happen to me if you die?”

Johnsy smiled weakly and closed her eyes. After every hour or so she would look out of the window and find the leaf still there. It seemed to be clinging to the creeper.

In the evening, there was another storm but the leaf did not fall. Johnsy lay for a long time looking at the leaf. Then she called out to Sue.

“I have been a bad girl. You have looked after me so lovingly and I have not cooperated with you. I have been depressed and gloomy. The last leaf has shown me how wicked I have been. I have realised that it is a sin to want to die.”

Sue hugged Johnsy. Then she gave her lots of hot soup and a mirror. Johnsy combed her hair and smiled brightly.

In the afternoon the doctor came. After examining his patient, he told Sue, “Johnsy now has the will to live. I am confident she’ll recover soon. Now I must go downstairs and see Behrman. He is also suffering from pneumonia. But I am afraid, there is no hope for him.” The next morning Sue came and sat on Johnsy’s bed. Taking Johnsy’s hand in hers she said, “I have something to tell you. Mr Behrman died of pneumonia this morning. He was ill for only two days. The first day the janitor found him on his bed. His clothes and shoes were wet and he was shivering. He had been out in that stormy night.”

Then they found a ladder and a lantern still lighted lying near his bed. There were also some brushes and green and yellow paints on the floor near the ladder. “Johnsy dear,” said Sue, “look out of the window. Look at that ivy leaf. Haven’t you wondered why it doesn’t flutter when the wind blows? That’s Behrman’s masterpiece. He painted it the night the last leaf fell.”

O. HenryM

(An abridged version of the original story)

Canvas of Soil

Reflect and Respond

I Work in pairs. Discuss what all you see in a garden. Think of the colours you see and where you see them. Share your responses with your teacher.

II Look at the picture of a garden and a painting given below. Speak about any similarities between the garden and the painting.

Speak using the following:

1. Just as a garden ______________, similarly, a painting ______________

2. A garden and a painting, both ________.

3. ______________ is common to both a garden and a painting.

4. Like a garden, a painting too __________.

III Let us acquaint ourselves with the meanings of palette, hue, and canvas.

1. Palette: a thin oval or rectangular board or tablet that a painter holds and mixes colours on.

2. Hue: shade of a colour

3. Canvas: (here) painting

Now, look at the painting given above and identify palette, canvas, and select a hue.

Reading for Appreciation

Palette of earth, rich and deep, Where dreams of gardeners seep. Brushstrokes of seeds, planted true, Awaiting spring’s vibrant hue.

Blossoms bloom, a painted sight, Dancing in the morning light. Shades of green, red, and blue, Nature’s artwork, ever new.

Each plot, a canvas wide, Where art and life coincide. In the hands of those who till, Gardens become paintings still.

Maya Anthony

Check Your Understanding

I Read the poem again and complete the summary of each stanza by filling in the blanks.

II Select the appropriate title for each stanza from those given below. There are two extra titles.

1. Nature’s Work of Art

2. Sweet-smelling Blossoms

3. Gardens as Living Canvases

4. Earth and Possibilities

5. The Painter’s Canvas

III Match the poetic devices in Column 1 to the examples in Column 2. Discuss your responses in pairs. Then share the responses with your classmates and teacher.

Critical Reflection

I Read the given extracts from the poem and answer the questions that follow.

1. Brushstrokes of seeds, planted true, Awaiting spring’s vibrant hue.

(i) The poet has used a metaphor in ‘Brushstrokes of seeds’. Which option from those given below uses a metaphor?

A. Her mother’s heart heard her heartfelt request with kindness.

B. She has a heart of gold.

C. Her heart did a dance of joy on seeing the new doll.

D. She has a very kind heart.

(ii) Complete the sentence appropriately.

The phrase ‘planted true’ is significant because it implies __________.

(iii) Why has the poet used the word ‘hue’ instead of ‘colours’ in the extract?

(iv) Complete the following analogy correctly with a word from the extract.

Summer: hot :: Spring : _________

(v) Read the Assertion (A) and the Reason (R) and select the option that is correctly suited.

(A): Gardeners wait for Spring.

(R): Gardens are worth painting in Spring.

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.

2. Each plot, a canvas wide, Where art and life coincide.

(i) What does ‘Each plot’ refer to in this extract?

(ii) Select which option imitates the rhyme scheme of the extract.

A. beautiful and clear

laughter and cheer

B. beautiful and clear

laughter and tears

(iii) Select the line from the extract that conveys that gardening blends aesthetic beauty with natural growth.

(iv) Complete the following sentence appropriately. The plot is likened to a canvas suggesting that _____________.

(v) Why has the poet most likely used the word ‘wide’ instead of ‘long’ in ‘canvas wide’?

II Give reasons for the comparisons made by the poet in the poem.

1. A painter is compared to a gardener because ______________.

2. A palette is like earth as __________________.

3. The brushstrokes are like seeds because _________________.

4. A canvas is similar to a garden plot as __________________.

III Answer the following questions.

1. How does the metaphor ‘Brushstrokes of seeds’, enhance the understanding of gardening as an art form?

2. What can you infer about the poet’s perspective on the relationship between nature and creativity from the following lines?

‘Each plot, a canvas wide,/Where art and life coincide.’

3. Do you think the imagery in the poem successfully paints a vivid picture in the reader’s mind? If yes, why? If no, why not?

4. Support the view that the poet’s mention of the colour yellow, besides red, blue and green, would have lent effectively to the imagery.

5. Considering the line ‘Gardens become paintings still’, what can you interpret about the poet’s view on the timelessness of nature’s beauty?

6. Justify the title of the poem, ‘Canvas of Soil’.

Vocabulary in Context

I The poet refers to the shades of green, red, and blue in the poem. Let us read some of the names of different shades of these colours.

Now, Discuss in pairs, any two things that you can associate with these colours.

II You have studied painting-related words like palette, brushstrokes, shades, hue, colours, and canvas. Now, read the following paragraph and discuss in pairs what the underlined painting-related words might mean. Discuss this way:

I think ____________ means ____________ because the passage talks about ____________.

Example: I think portrait means a picture of someone’s face because the passage talks about capturing a friend’s features.

In the art studio, young painters eagerly approached their easels, each framing a canvas that they had to work on. The teacher encouraged them to experiment with a diverse tonal range, playing with shades and hues to bring their paintings to life. One student focused on a detailed portrait, capturing his friend’s features, first with careful underpainting and then filling the final colours. Another student worked on a mural, depicting a Spring Day on the right wall of the classroom. The room continued to buzz with artistic energy.

Listen and Respond

I You will listen to a young girl describe her school garden. As you listen identify which of the following 1–3, she does not talk about. (Transcript for teacher on page 264)

II You will once again listen to the young girl. As you listen, circle the correct answer from the options given below.

Speaking Activity

I People wish to have a garden at home. Some like a flower garden and some a vegetable garden. Think and note some advantages of both these types, as gardens for homes.

II Would you like to have a flower garden or a vegetable garden at home? Why?

Take turns with your partner and speak your points aloud, one by one, by using the given sentence prompts to express your preference, with reasons.

1. I prefer __________ to __________ because ...

2. For me , it is a __________ instead of a __________ due to ...

3. If I had a choice I’d rather have a ________than a __________ as ...

4. I would prefer __________ rather than __________ since ...

Writing Task

I Write a descriptive piece of two to three paragraphs describing the details and colours in the garden you have visited.

• Focus on how different shades of blue, red, and green interact, create contrast, and bring the garden to life.

• Pay attention to details like the texture of petals, the varying greens of leaves, and the way light affects the colours.

Learning Beyond the Text

I Mini-Project

Objective: Explore the multifaceted world of gardens— their design, cultural significance, artistic inspiration, and the art of gardening itself.

Duration: This project can span over a few weeks, allowing students adequate time for research and creative processes.

Select any TWO assignments. Any one from 1 or 2, and any one from 3 or 4

(1)

• Do research and collect information on any FIVE famous gardens of India, such as Amrit Udyan, Brindavan Gardens, and many others.

• Focus on history, design elements, and cultural significance.

• Prepare a short report and make a presentation.

(2)

• Explore various art forms (painting, sculpture) inspired by gardens. Select an art piece and analyse how the garden is represented.

• Create a visual or written response inspired by the garden.

(3)

Design your own garden

• Design a garden on paper or using digital tools.

• Incorporate elements and artistic inspirations learned from parts (1)/(2).

• Present your choices in design and artistic influences to the class.

(4)

Interview with a Gardener or Landscaping Expert

• Approach a local gardener or a landscaping expert for an interview.

• Prepare questions focussed on understanding the practical aspects of gardening/landscaping.

• Write a summary of your experience.

II You must have read poems and songs about beauty of nature and different seasons in English and in your own language. Now, read and enjoy the poem given below.

A Sea of Foliage Girds Our Garden Round

A sea of foliage girds our garden round, But not a sea of dull unvaried green, Sharp contrasts of all colours here are seen; The light-green graceful tamarinds abound Amid the mango clumps of green profound, And palms arise, like pillars gray, between; And o’er the quiet pools the seemuls lean, Red-red, and startling like a trumpet’s sound. But nothing can be lovelier than the ranges Of bamboos to the eastward, when the moon Looks through their gaps, and the white lotus changes

Into a cup of silver. One might swoon Drunken with beauty then, or gaze and gaze On a primeval Eden, in amaze.

Toru Dutt