Hamara Bharat—Incredible India! Questions & Answers | Class 6 English | CBSE NCERT

(b) — The opening line directly states this.

(a) — The text says its "rich and diverse culture has attracted numerous travellers since ancient times."

(c) — People living "in unison" live together in harmony, which is why the passage speaks of "unity in diversity."

True — the passage states this exactly.

It means that although the people of Bharat follow different customs and cultures, they live together in harmony, as one nation. Their living "in unison" despite their differences presents this unity in diversity to the world.

The passage asks us to continue working hard to make sure Bharat prospers. I can do my bit by studying diligently, keeping my surroundings clean, and respecting the culture and traditions of all my fellow citizens.

(b) — The students answered together, "Ek Bharat, Shreshtha Bharat."

(c) — The teacher asked Renu, who answered "with a smile on her face."

(b) — She says, "our unity in diversity makes us the most wonderful country in the world."

jumping

Renu says the programme teaches that we all belong to one nation, and that belonging is the bond we share. Our unity in diversity makes us the most wonderful country in the world.

It shows the students were excited, enthusiastic and eager to take part in the programme. They were happy to meet friends from all over the country.

(c) — She begins, "I am Aakansha from Uttarakhand."

(b) — Aakansha explains that Aipan is drawn with white rice flour paste on geru-coloured brick-red walls.

(c) — The word glossary in the text explains geru as red clay used as colour.

False — it is made on floors and walls of puja rooms and outside the main door of the home.

Aipan is drawn on family functions and festivals. It is made on floors and walls of puja rooms, and outside the main door of the home.

It shows that every state of Bharat has its own language and its own way of greeting people. Even though the words are different, all the greetings carry the same warmth and respect, showing our unity in diversity.

(b) — The text says, "It is an art form made by the women in the family."

(c) — Aakansha says the designs are based on "our cultural traditions, and observations of nature."

(b) — Priyaranjan calls it "a 4000-year-old metal craft named Dhokra."

Wax (a layer of wax).

The designs are made of careful patterns, lines and shapes that follow exact rules and symmetry, like mathematics. They are planned precisely even though they are drawn by hand.

The clay-covered figure is put in the fire, and the heat of the fire melts the wax. The melted wax then flows out through the small openings, leaving an empty space inside the clay layer.

(b) — The text says, "brass scrap is melted and poured into the empty space."

(b) — "The liquid metal takes the same shape as the wax."

(a) — She says, "I am Chitra from Kerala."

sandpaper

After the brass has taken the shape of the wax, the outer layer of clay is removed. Then the metal figure is finished exactly as the craftsman wants.

It shows that our craftspeople were highly skilled and inventive. They found a clever way to copy a wax model exactly in brass without modern machines, and this knowledge has been passed on for 4000 years.

(b) — The makers "make it stable by fixing a base under it."

(b) — "We make household things like bowls and even jewellery from the coconut shells."

(c) — The word glossary explains biodegradable as "something that will not harm the environment."

False — it is a 400-year-old art.

The wood polish is applied at last to make the finished product shine. It gives the bowl or piece of jewellery a smooth, bright and attractive finish.

They take soft wood from the nearby hills. Soft wood is easy to carve, so the parts of the toys can be shaped separately without much effort.

(b) — The extract defines makku as "a paste of tamarind seed powder and sawdust to join the pieces together."

(c) — The extract lists exactly these colours and paints.

(b) — The text says, "These toys are based on folk stories, animals, birds, bullock carts, rural life, etc."

makku

These words show the correct order or sequence of the steps in making the toys. They help the reader follow the process from the first step to the last one clearly.

I would like to own a bullock cart toy, because it shows village life as it really is. It would remind me of our rural traditions and the skill of the craftspeople of Kondapalli. (Any reasonable choice with a reason is acceptable.)

(a) — The programme works "through the concept of state/UT pairing."

(b) — This is stated directly in the note.

(a) — Highlighting this inter-connectedness contributes to nation building.

True — the note says it celebrates unity in diversity and strengthens emotional bonds between citizens.

The extract mentions languages, cuisines, music, dance, theatre, movies and films, handicrafts, sports, literature, festivals, paintings and sculptures. Any five of these may be listed.

It helps me discover how much we share even when things look different, so I feel closer to people of other states. I learn to respect their ways instead of judging them, and this builds friendship and unity.

Bharat has always been known worldwide as a land of wise and heroic individuals. Its rich and diverse culture has attracted numerous travellers since ancient times.

Bharat's rich and diverse culture is attractive. Its people live in unison, presenting unity in diversity to the world.

Bharat is described as a land rich with rivers, lakes, and high mountains. Its green forests are home to many plants, insects, birds, and animals.

The passage advises us, as inhabitants, to continue working hard and to make sure that Bharat prospers and is respected globally.

According to Renu, the programme is to know that we all belong to one nation, and that is the bond we share. Our unity in diversity makes us the most wonderful country in the world.

The video showed little windows, each with a smiling child. Each child greeted the audience and described an art form of his or her own state.

Aakansha is a child from Uttarakhand. She tells us about Aipan, the folk art of her state, which is drawn on family functions and festivals.

Aipan is a folk art of Uttarakhand done with white rice flour paste on brick-red walls coloured with geru. It is made on floors and walls of puja rooms, and outside the main door of the home.

Aipan is an art form made by the women in the family. Its beautiful, mathematical designs are based on cultural traditions and observations of nature.

Dhokra is a metal craft practised by Priyaranjan's tribe in Odisha. It is a 4000-year-old craft.

The wax-covered figure is covered with clay and put in the fire. The heat melts the wax, and the melted wax flows out of the small openings.

After the melted wax flows out, melted brass scrap is poured into the empty space inside the clay. The liquid metal hardens, taking the same shape as the wax.

Household things like bowls and even jewellery are made from coconut shells. The craft is special because it is biodegradable — it will not harm the environment.

Makku is a paste of tamarind seed powder and sawdust. It is used to join the separately carved pieces of a Kondapalli toy together.

The toys are based on folk stories, animals, birds, bullock carts, rural life, and similar themes drawn from the countryside.

The toy makers of Kondapalli take soft wood from the nearby hills to make their toys.

Both crafts use natural materials — soft wood for the toys and coconut shells for the craft — and both are made by hand using simple tools. Neither craft harms the environment.

It aims to enhance interaction and promote mutual understanding between people of different states/UTs through state/UT pairing. This celebrates unity in diversity and strengthens emotional bonds between citizens.

The teacher wanted the students to recall the purpose of the programme in their own words. By asking Renu to explain it, she made sure everyone remembered that they all belong to one nation.

Learning about other states' art forms helps us develop a sense of common identity and respect for one another. It shows how the cultures and traditions of our country are inter-connected.

First, a figure is made with clay and dried, and it is covered with a layer of wax. Then the fine details are carved on the wax, and the figure is covered with clay again and put in the fire. The wax melts and comes out of small openings. Next, brass scrap is melted and poured into the empty space, and the liquid metal takes the same shape as the wax. Finally, the outer layer of clay is removed and the metal figure is finished as desired.

First, the outside and inside of a brown coconut shell are cleaned. After that, the shell is made smooth using sandpaper or a machine. Then it is given the shape the maker wants, and made stable by fixing a base under it. At last, it is polished with wood polish to make it shine, and turned into household things like bowls and even jewellery.

Aipan is made by the women in the family of Aakansha's state, Uttarakhand. It is drawn on family functions and festivals, on floors and walls of puja rooms, and outside the main door of the home. The designs are very beautiful and mathematical, and are based on cultural traditions and observations of nature.

The four children come from four different states — Uttarakhand, Odisha, Kerala and Andhra Pradesh — and each speaks in a different language greeting. Yet all four share the same pride in their country and its traditions, and all describe art forms made by hand from natural materials. Their coming together at one programme shows that different regions and cultures still share one national bond.

The opening passage says Bharat's rivers, lakes, high mountains and green forests full of plants, insects, birds and animals ensure its prosperity. Its rich and diverse culture attracts travellers from all over the world. In addition, its people live in unison, presenting unity in diversity, which earns the country respect everywhere.

The programme pairs states and UTs so that their people interact and understand each other better. Its vision is to enable people to develop a sense of common identity by sharing best practices and experiences. By highlighting the inter-connectedness between various cultures and traditions, it strengthens emotional bonds among citizens and thus contributes to nation building.

Aipan designs are called mathematical because they are made of patterns, lines and shapes that are symmetrical and follow exact rules. The women draw them by hand, yet the designs are precise and balanced. This shows that traditional artists understood geometry and measurement long before modern tools existed.

These details reveal that our traditional crafts are eco-friendly and careful of nature. Craftspeople use natural things — coconut shells, wood, tamarind seed powder, sawdust and vegetable dyes — so that nothing harms the environment. This shows that Bharat's traditional knowledge respected nature long before the modern world talked about protecting it.

It is important to keep them alive because they carry the history, skill and identity of our communities across thousands of years. If the craft dies, the knowledge of generations of craftspeople is lost forever. Keeping them alive also gives livelihoods to tribal families like Priyaranjan's, and lets the world see Bharat's rich heritage.

I found Dhokra the most interesting because it is 4000 years old and works like magic — a wax model is replaced by brass that takes exactly the same shape. It shows the amazing intelligence of our craftspeople. (Any art form may be chosen if a valid, text-based reason is given.)

The central theme of the chapter is the incredible cultural richness of Bharat and the unity in diversity that binds its people. The chapter opens by describing Bharat as a land of wise and heroic individuals whose rich, diverse culture has attracted travellers since ancient times. Through the Ek Bharat, Shreshtha Bharat programme, students meet friends from all over the country on a video screen. Four children — Aakansha, Priyaranjan, Chitra and Balamurali — describe four completely different art forms: Aipan floor and wall art from Uttarakhand, 4000-year-old Dhokra metal craft from Odisha, biodegradable coconut shell craft from Kerala, and 400-year-old Kondapalli toy-making from Andhra Pradesh. The languages, greetings, materials and methods are all different, yet every child shares the same pride in the nation's heritage. The chapter closes with the note that the programme aims to strengthen emotional bonds and build a common identity. Thus, the chapter teaches that our many cultures are like different flowers on the same plant called Bharat.

Renu's statement is proved at every step of the chapter. The students of one school hall connect with children from all over the country through a video, showing one nation reaching out to itself. The four presentations come from four different states — Uttarakhand, Odisha, Kerala and Andhra Pradesh — each with its own greeting: Pranam, Suprabhat, Suprabhaatam and Subhodayam. The art forms are equally varied: Aipan drawn in rice flour paste, Dhokra cast in brass, coconut shells polished into bowls and jewellery, and Kondapalli toys joined with makku paste. Despite these differences, common threads run through all of them — every craft is handmade, rooted in nature, based on tradition, and passed down within families and tribes. The closing note on the Ek Bharat, Shreshtha Bharat programme states that this very diversity is celebrated to strengthen the emotional bonds between citizens. Diversity of expression and unity of spirit thus exist side by side, exactly as Renu said.

The first art form I shall describe is Aipan from Uttarakhand, presented by Aakansha. It is a folk art drawn on family functions and festivals, made with white rice flour paste on brick-red walls coloured with geru. It is made on the floors and walls of puja rooms and outside the main door of the home. It is an art form made by the women in the family, and its beautiful, mathematical designs are based on cultural traditions and observations of nature. The second art form is Dhokra from Odisha, presented by Priyaranjan. It is a 4000-year-old metal craft practised by his tribe. To begin, a figure is made with clay and dried, and then covered with a layer of wax. The fine details are carved on the wax, and the figure is covered with clay again and put in the fire. The wax melts and escapes through small openings. Next, melted brass scrap is poured into the empty space, and the liquid metal takes the same shape as the wax. Finally, the outer clay layer is removed and the metal figure is finished as desired. Both arts show the skill and patience of Bharat's craftspeople.

The chapter teaches several lasting values. First, it teaches pride in one's heritage: every child speaker — Aakansha, Priyaranjan, Chitra and Balamurali — speaks warmly and confidently about the art of his or her state. Second, it teaches respect for all regions and communities; the teacher calls the children on the screen 'your friends from all over the country', and the students clap for Renu's answer. Third, it teaches care for nature: the coconut shell craft is biodegradable, and the Kondapalli toys are coloured with vegetable dyes, showing that traditional crafts do not harm the environment. Fourth, it teaches hard work and patience — a Dhokra figure passes through many careful steps of clay, wax, fire and metal before it is complete. Finally, it teaches responsibility: the opening passage reminds us that as inhabitants, we need to continue working hard to make sure Bharat prospers and is respected globally.

Students can apply the programme's message in many small but real ways. We can begin by learning about the culture of a state other than our own — its language, cuisine, festivals and handicrafts — just as the students in the chapter learnt about Aipan, Dhokra, coconut shell craft and Kondapalli toys. We can befriend students from other states in our school and exchange greetings in each other's languages, the way the children used Pranam, Suprabhat, Suprabhaatam and Subhodayam. We can take part in cultural programmes, speak about a local art form in class, and support craftspeople by buying their handmade products instead of machine-made ones. At home, we can try simple traditional activities with our family, such as making rangoli or natural colours from haldi and leaves as the 'Let us explore' section suggests. In all these ways, we can enhance interaction, develop a sense of common identity, and strengthen the emotional bonds between citizens — exactly what the programme aims to do.

(A model speech based on the chapter's style) "Namaste! I am Meera from Bihar. I am going to tell you about Madhubani painting, our traditional art from Madhubani in Bihar. The artists make these paintings with natural colours — yellow from haldi, green from leaves, red from red flowers or geru, orange from flowers, and blue from indigo powder. First, they prepare the wall with a coating of clay or cow dung. After that, they draw the outlines of gods and goddesses, flowers, birds and animals. Then they fill the shapes with bright natural colours. Finally, the paintings are finished with fine lines and dots that make them come alive. These paintings were first made on the walls of houses, and now they are made on paper and cloth too. I am proud that my state's art is famous all over the world. Dhanyavaad!" (Students may write about any art form of their region in this manner.)

My five questions would be: (i) Aakansha, how did the women of your family learn the mathematical designs of Aipan? (ii) Priyaranjan, how does your tribe keep the 4000-year-old Dhokra craft alive in modern times? (iii) Chitra, what made the craftspeople of Kerala think of turning coconut shells into bowls and jewellery? (iv) Balamurali, why do the toy makers of Kondapalli carve each part of the toy separately instead of one whole piece? (v) How can the rest of the country help your crafts to reach more people? After the interviews, I would tell my readers that Bharat's real treasure lies not only in its rivers, lakes, mountains and forests, but in the hands of its craftspeople. From rice flour paste on walls to brass figures born out of fire, from polished coconut shells to wooden toys joined with makku, every art form carries centuries of tradition, observation of nature and hard work. I would conclude that these living traditions are what make Bharat incredible, and that it is every citizen's duty — as the opening passage says — to keep working hard so that the country and its arts continue to prosper.