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TOURISM POTENTIAL AT KALA KENDRA

CHAPTER ONE
INTRODUCTION OF JAMMU
Jammu and Kashmir as it is usually called is the northernmost state of the republic of India. It
stands divided into three regions of Jammu, Kashmir and Ladakh. These three regions of the state
are separate geological entities as well as different administrative units under the same state. This
state of the Indian republic has a long international border which it shares with Pakistan occupied
Kashmir, China and Tibet. Many historians have described this region because of its geographical
location as the crown of India. Jammu and Kashmir has had an economy primarily dependent on
tourism and it is one of the top domestic and international tourist attracting markets of India.
Jammu is one of the regions of the state of Jammu and Kashmir, the other two being the Kashmir
province and the Ladakh province. Jammu district is the most developed area in the widespread
Jammu region. The core of the Jammu district is the Jammu city, which is one of the fastest growing
tier II cities in north India. Jammu city is also the economic nerve center for the entire hinterland of
the Jammu province and also the major trading market of the area.
INTRODUCTION OF KALA KENDRA
Kala Kendra is a recently opened museum in Jammu city. It is one of the only three museums
possessed by the Jammu city, the other two being Amarmehal museum and the Dogra art
museum. Another art treasure possessed by the city is the Toshakhana. Of these four the
Amarmehal museum and the Toshakahana showcase the art treasures and the other
paraphernalia possessed by the erstwhile royal family of Jammu and Kashmir.
Kala kendra Jammu houses a collection of different art products mainly painting and sculpture by
many Indian artists. A visit to the kala Kendra gives us an overview of the mediaeval and
contemporary Indian art.
Kala Kendra was inaugurated on 2nd October 2005 by Mr. M.M.Sayeed the then chief minister of
the state. The building that has been created to house kala Kendra has a very visually appealing
architecture. The architectural plan has been conceptualized like a classic Indian palace and it has
a radiant white colour, which diffuses the sunlight falling on it in an excellent manner. The
architectural plan divides it into two floors having separate entrances from the ground level and
the external staircase respectively. The location of the kala kendra is excellent as it lies at Bikram
chowk which is one of the main thoroughfares of the city adjacent to the ever busy Tawi bridge.
The route to Bagh-e-Bahu, the main tourist spot in Jammu city also passes through this chowk.
The formation of the kala Kendra has a two-fold purpose. One obviously is to showcase the rich
artistic heritage of the state to the interested tourists and the general public, along with the works
of other major Indian artists. The other purpose is to provide a space for upcoming artists amateur
or professional belonging to the state to showcase the creations of their talent. Both these are a
means to raise the awareness of the importance of art for a civilized life in the masses. The
building plan of the kala Kendra is such that it is a two story building of imposing faade. The
building of the kala Kendra is bounded on the three sides by a beautiful lawn which is dotted with
beautiful hand made stone sculptures made by various artists. These stone sculptures are of male
and female human poses and of various in animate objects as well.
The ground floor and the first floor of the Kendra are divided into two sections each. The first floor
of the kala Kendra is divided into two sections dedicated to the architectural heritage of Jammu
and Jammu chitrakala respectively.

There are two sections in the ground floor one dedicated to the contemporary Indian art and the
other displaying Basohli style miniature paintings painted by the young contemporary artists of J&K
mostly.
CHAPTER TWO
TOURIST PERSPECTIVE OF KALA KENDRA
Now the researcher will analyze the artifacts housed in the first floor of the kala Kendra and then
proceed further systematically.
In the first floor housed between the two sections is the lobby. The lobby is spacious with a high
temple like dome and on the walls of the lobby photographs have been displayed all around. These
photographs pertain to these topics; memorable events of J&K state showing state dignitaries of
the present and previous governments; photographs of the wall paintings of Jammu which still
decorate the walls of palaces of the erstwhile Dogra rulers of J&K; photographs of the portraits of
the dogra rulers of J&K and prominent members of the various generations of the ruling family;
some slides of the social and Buddhist religious landscape of the Ladakh; some photographs of the
main tourist and pilgrimage centers of Jammu region i.e. shiv khori, Suddhmahadev temple,
Dansar baba, Bahu fort,Jhajjar Kotli, Gupt ganga, mansar lake; some miscellaneous photographs
viz a huge sculpture of Baba Agar Jitto, Shankaracharya temple on Shankaracharya hill in Srinagar,
scenic locations of Ladakh and Bhaderwah regions of J&K.
Now the researcher will study the artifacts in the section dedicated to the architectural heritage of
Jammu. In this section an attempt has been made to introduce the viewer to the architectural
heritage of Jammu by means of well-framed and well-displayed photographs. There are
photographs aplenty about which the researcher will write in the following paragraphs
There is a photograph of the first train to Jammu from sialkot Punjab. Then there are two
photographs of the then maharaja sahib being presented by the then resident to the Prince of
Wales. There are three photographs of the old suspension bridge on the river Tawi. There are two
photographs of the Shri Raghunathji temple, the prominent temple of Jammu city taken in the 19th
century, showing the then existing adjacent water tanks near the temple. Then there are five
photographs of the heritage complex-mubarkmandi Jammu, which was the mediaeval center of
administrative authority in J&K kingdom. Out of these five, three show the mediaeval royal glory of
the durbars and the processions when kings were ruling and the two photographs show the
modern face of the complex which still houses innumerable govt. departments. There is a
photograph of the triumphal arch of Jammu city, which does not exist now. Another photograph
shows the poonch house, which was the guesthouse of the Poonch rajas and is now used as the
Govt. institute of music and fine arts. There is photograph showing the aerial view of Bahu fort,
which was taken in the early twentieth century. Another photograph shows the prince of Wales
College, taken in 1907 AD, which was the first institute of higher studies in Jammu. Then there is a
set of twelve modern photographs of the shrines of many faiths in Jammu city including temples,
old churches,masjids, durgahs and a gurudwara. There are three modern photographs of the three
forts of Jammu region i.e. the bahu fort, the Jandi fort-Hiranagar and the Lakhanpur fort which are a
representative sample architecturally of the various other forts in the region. Further there are
three photographs of two ancient temples i.e. the Sukrala mata temple in Billawar-Kathua district
and the Krimchi temple in Krimchi-Udhampur. Then there are four photographs which show the
ancient religious sacred sculptures from temples in Udhampur and the Bhaderwah areas i.e. those
of Lord Buddha, three faced Shiva with Parvati, Nandi the sacred Bull and the Laxmi-Narayana. At a
prominent place in the hall a map of Jammu city dated circa 1880-90 A.D. has been displayed. It
shows the old city as existing then and it is difficult to match it to the city contours as seen today.
In four corners of the hall affixed to the four pillars, antique doors belonging to the old havelis and

palaces have been displayed. These have religious paintings, Jammu court scenes and floral motifs
as their themes. There is also a section which shows photographs detailing the restoration work at
the state protected monuments of Chingus sarai in Rajouri and at Bahu fort in Jammu city. These
photographs are not important from an historical or archaeological point of view. In this section
there is also a recently opened small sub-section showing photographs from Gandhi jis Dandi
yatra. It has photographs of Dandi yatra, Gandhiji, sabarmati ashram, Lord Irwin, A.O.Hume,
Dr.Annie Besent, yerevada prison-pune, and various govt. orders like salt act, related
correspondence and newspaper clippings of the day.
Now the researcher will study the paintings in the second section of the first floor, which has been
named Jammu Chitrakala. It houses the replicas of pahari paintings and Basohli miatures. The
original paintings are housed in renowned museums in India, Pakistan and the rest of the world.
Pahari paintings are world renowned for their beauty, their superb sense of composition, their
handling of human emotions, and the classical features of their characters. The characteristics of
the human figures in pahari paintings are: - sharp featured men, beautiful women of medium
stature with fair complexion, beautiful deep eyes, round face and semi-circular forehead. Pahari
miniatures made their debut quite late around 1660ad at Basohli. Pahari paintings were first
painted in the royal court at Basohli and in no time they spread all over the himalyan hill states.
The large Himalayan perspective became the perspective of pahari miniatures. An intense
character of conjugal love permeates the paintings. Intense character of broadleaf trees forms the
background of the paintings. A wide range of plants decorated with brilliantly coloured flowers,
artistically created floors, wall spaces, carpets and parapets are the special features of pahari
paintings. Overall the principle of love is the dominant theme of the pahari miniatures. The divine
love of Radha and Krishna provided the aesthetic themes and the spiritual flavour to pahari
paintings. In Radha and Krishna, the pahari painters found the ideal loving couple as well as the
best nayak and nayika they were looking for. The tantrik cults of Devi also have been a profound
influence on pahari paintings. Various tantrik innovations of the Devi-the godess mother have been
painted. However most such paintings are of crude form and brilliant red, blue and black colours
have been employed in them. Due to the political relations of Punjab and Jammu, the Kangra-Sikh
mixed style of painting is the dominant style of Jammu paintings. The most favorite theme of the
painters was the divine love and stories of Radha and Krishna. These pahari paintings are
considered as a superb tribute to the world of art. The pahari paintings have been influenced by
and depict stories from the Mahabharata, bhagvat purana, Gita-Govinda, Rasmanjri, Rasikpriya,
Baramasa and the Raagmala. Taking cue from the divine love of Radha and Krishna, painters have
painted paintings on the love of Heer-Ranjha, Usha-Anirudh, Nal-Damyanti, and Sohni-Mahival.
Next the researcher will briefly describe the paintings housed in this section. First there is a
painting of a Madhya nayika preparing herself for her lover which is housed in Lahore museum.
Next painting is of a priya-vichheda nayika i.e. a woman separated from her lover. Next is a
painting of a confidante encouraging Radha to go and meet Krishna and painting of Krishna doing
Raaslila with gopies in the woods. This entire painting and especially the eyes of Krishna in it are
very beautiful. Then there is a painting showing a devoted wife. This painting is from Basohli
And has a very elegant treatment as regards human features. Next paintings consecutively show a
nayika who is loyally loved, a nayika who is very conscious of her youth, a sakhi in conversation
with the nayika, and a love lorn lady holding a bird in her hand. Then there is a Krishna painting
titled Hail Keshava Hail ruler of the world. Bramha, Shiva and other saints title next painting the
adoration of Krishna which is an illustration from the Bhagvata purana and shows Krishna being
adored. In it Vishnu and Lakshmi are shown seated on a lotus. Next painting shows a confidante
addressing Krishna. Then there is a painting showing Krishna stealing the clothes of cowherdesses

which is an illustration from the Bhagvata purana. Next painting is titled parakiya
vassaksajjawhich shows a parakiya nayika preparing to meet her lover. Next painting titled proud
nayika shows a man with two nayikas. Next there is a painting of Lord Krishna milking the cow
showing beautiful features of the accompanying cowherds, the cow and the calf. Next two
paintings are titled nayikas low pride and why this hesitation my love and show a couple in
amorous poses. Next painting is titled the the youthful bride adorning herself and it shows a
young woman adorning herself with ornaments and make-up. A painting shows Sita, Lava and Kush
in the hermitage of sage Valmiki. Another painting shows Lord Krishna bringing the parijata tree
from Indras heaven.
Next there are several paintings of the Kashmiri school of the sungod surya showing him seated
under a tree and swinging on a swing. Next few paintings are all from the Kashmir school. A
painting of the moon god Chandra holding a pot of nectar. A painting of the ardhnarishwara form of
Lord Vishnu. A painting of Vishwarupa the cosmic form of Lord Krishna. Paintings of the kashmiri
style have characteristic kashmiri features and kashmiri flora. Next there is a folio from Shri Guru
Granth sahib depicting the eighteen ragas and raginis in a human form, decorated with animal
motifs like elephants and peacocks. Then there is a painting titled the churning of the ocean
which shows the ocean being churned by the gods and the demons forgetting various treasures
including nectar. Further there is a curious painting titled Radha handling the curd pot, showing
Krishna seated and Radha handling the curd pot. Next painting is titled love in union and shows a
couple semi-naked in amorous positions. There are two dasis shown serving the couple. Next
painting is titled premgarvita a woman who is proud of her lovers love for her. This original
painting is housed in Victorian Albert museum London.
Then there is a series of paintings illustrating the story of Sudhama and Krishna. First painting
shows a quarrel in the house of Sudhama. Next painting shows the departure of Sudhama,
Sudhama on his way to meet Lord Krishna, welcome of Sudhama by lord Krishna and his wives,
departure of Sudhama from Krishnas palace for his house and finally the return of Sudhama to his
renovated dwelling. Then there is a set of four paintings of Radha and Krishna, showing them
standing at the side of a cow, standing together, sitting together beneath a tree and finally
standing under an umbrella. Next two paintings show Radha offering a garland to Sri Krishna, and
Radha talking to Sri Krishna in her courtyard. In these two paintings the facial features, the
architecture, the flowering trees and the creepers are very beautiful. Then there is a painting titled
kishkinda Kand. It is an illustration from the Ramayana and shows Lord Ram and Sugreeva sitting
and talking in a cave. A pond has been depicted adjacent to the cave and the scene has been
decorated by beautiful peacocks and flowering trees. Next two paintings show goddess Sati in
conversation with her father Prajapati Daksh, and Sati jumping into the sacrificial fire and killing
herself.
There is a painting showing Ram darbarsurrounded by the dasavataras of Vishnu and many other
saints. Next painting shows Krishna milking a cow. Then the next painting shows devotees inside
the cave shrine of Shri Amarnathji. They are all surrounding the holy ice lingam. A painting shows
goddess Durga sitting on a throne holding all her various weapons in various hands. There are two
paintings of Raja Gulab singh showing him hunting tiger and neelgai. These two paintings belong
to the Jammu-Sikh mixed style and the pahari style respectively. Next two paintings show the
Narsimha avatara- the man and lion incarnation of Vishnu and Harihara the composite form of
Shiva and Vishnu. Next painting shows mother earth receiving her daughter Sita back and Lord
Ram looking on. Then there is a painting titled Brhambhoj showing a lady offering food to a
Brahmin. Next painting shows Rama resting while Lakshmana guars him. It is an illustration from
the Ramayana. Next painting shows the marriage ceremony of Rama and Sita with the sages
blessing them. Next painting shows Gaur-malhar- the son of raag Megha which is a visual
depiction of an Indian musical mode.

Then there is a set of ten paintings which show the various poses of Radha and Krishna. These
show in sequence sakhi persuading Radha to meet Krishna in a bower, sakhi informing Radha of
Krishnas arrival, sakhi narrating to Radha Krishnas dalliance with the gopies, shy Radha being led
by sakhi to meet Krishna, manini nayika Radha waiting for Krishna in a pavallion, Krishna the
divine flute player, and Radha yarning for Lord Krishna. Next painting shows Hanumanj paying
homage to Rama and Sita. Another painting shows a neglected heroine praying to Lord Shiva for
reunion with her lover.
Now the researcher will study the paintings housed in the ground floor of Kala Kendra. There are
two sections in the ground floor one dedicated to the contemporary Indian art and the other
displaying Basohli style miniature paintings painted by the young contemporary artists of J&K
mostly.
The researcher will first study the section on the modern Basohli style paintings. The painters
whose paintings have been put up for display are kabirchand maharana, Dheeraj Kapoor, Sona
Kapoor, Savita Sharma, Kanchan billoria, Rajni Bala, Md.Akram Khan, and Shakeel Ahmed Raza.
These painters have done a wonderful job in their paintings; the paintings are almost look-alikes of
the original Basohli paintings.
A painting by Kanchan Billoria shows a woman sitting under a flowering tree playing a veena. A
deer is shown standing near her. Next painting by Pooja shows a beautiful woman in a garden
offering food to a peacock sitting on a tree branch. A painting by Dharmpal verma shows the
shikaar of lion, a king sitting on his elephant is killing a lion with his spear. A painting created by
Sona Kapoor shows a man with two women in an amorous pose, with the two women sitting in his
lap.
There are two paintings by Susheel Padha . The first one shows a man lying on a bed with two
women standing near the bed. The second painting shows a room in a garden with a man lying on
a bed inside the room and two women strolling outside and of the two one woman is shown
wearing only a lower garment with her breasts uncovered is shown combing her hair. Other
paintings in this section also show similar themes and there are some paintings, which show the
love of Radha and Krishna. Like a painting by Dheeraj Kapoor shows Radha and Krishna sitting
togetherwith Krishna playing the flute and Radha playing the Veena.
Now the researcher will study the paintings in the other section in the ground floor of kala Kendra.
This section houses acrylic or canvas based paintings by contemporary Indian painters. These are
all original paintings portraying a wide variety of themes. Most paintings are based on modern art,
themes of nature and surrealism. The painters whose paintings have been displayed in this section
are Manju karmakar, Satpal Deol, Vipin kumar, Prem Singh, Naushad, Shuja Sultan, Nitasha Jainee,
Jagdish, Mahraj Krishan Bhat, Poonei Chandran, and Razia Tony. Manju karmakar has painted a
painting title Mansar Lake. It is a very subdued picture of the lake. It is the best example of
surreal art in this section. A sort of hypnotic effect emanates from it.
Most paintings by Prem Singh are based on modern art and give off unusual and appealing visual
effects. Jumbles of faces and landscapes, human figures, brilliant colours are seen in his paintings.
Mahraj Krishan Bhat, jagdish, Vipin kumar and Satpal Deol are other painters whose paintings
displayed in this section display modern art. Poonei Chandran is another excellent modern painter;
his lone displayed painting depicts the body of a man with his face covered by newsprint reporting
the violence in J&K. Naushads painting is based on a natural theme showing the aerial view of a
wooded area. Another natural theme based painting shows a woman overlooking a lake from a
vantage point. The background shows the sun setting and she is looking at dolphins playing in the
water.

CURRENT VISITOR INTEREST IN KALA KENDRA


Now the researcher will analyze the current visitor interest in Kala Kendra, the profile of the visitors
visiting Kala Kendra and the motivations of these visitors.
As regards the current visitor interest in Kala Kendra, it is a fact that since its inauguration Kala
Kendra has not been able to attract sufficient visitors. Very few people visit the Kala Kendra in a
given day. Except for those days when Kala Kendra hosts functions, exhibitions of renowned
painters or exhibitions of the paintings of the local Jammu talent or the creations of the students of
college of fine arts and music the number of visitors remains low. Even on these occasions the
number of visitors increases just marginally. A massive information campaign is required for
promotion of Kala Kendra and for creating awareness about it.

ANALYSIS OF VISITOR PROFILE


Now the researcher will analyze the visitor profile of people visiting Kala Kendra. A study of the
visitor diary maintained by Kala Kendra staff reveals that mostly students and young people in
the16-30 age bracket visit the Kala Kendra, because they have an increased awareness of the
importance of art and the various mediaeval and modern styles of art of India. Some of the
domestic tourists who come from other parts of India mostly from metro and other big cities in
their own conveyance also visit the Kala Kendra for similar reasons. It is obvious that
knowledgeable art lovers are attracted due to the presence of the faithful replicas of the Basohli
miniatures in the Kala Kendra.
So we can safely conclude that local youth mostly students in the age group 16 30 and upper
crust domestic tourists who visit Jammu in their own conveyance or rented conveyance comprise
the visitor profile.

MOTIVATIONS OF VISITORS VISITING KALA KENDRA


Next the researcher will analyze the motivations of the visitors visiting Kala Kendra. A perusal of
the visitors diary maintained at the Kala Kendra and through a questionnaire based survey of
visitors visiting the Kendra the following were found to be the main motivations of the visitors.
They have been written in the descending order of priority.
1. Desire to see the replicas of Basohli miniatures.
2. Desire to see modern art.
3. Desire to see modern Indian paintings.
4. Religious feelings desire to see paintings of religious figures like Radha Krishna etc.
5. Chaunistic feelings of Dogra pride: - Desire to see portraits of forts, palaces and maharajas etc.

PAINTINGS AT KALA KENDRA UPKEEP AND MAINTAINANCE

Now the researcher will find out the measures being taken by the Kala Kendra for the upkeep and
the maintainance of the paintings etc. possessed by it.
The Pahari paintings and the Basohli miniatures in the Kala Kendra are not the original works of art.
They are the replicas of works housed in other renowned museums of India, Pakistan and other
countries. And all of them have been properly framed and empanelled with glass, so that they can
be saved from the ravages of elements. Of course the natural ageing process is at work in them
too but not being originals the threat to them is not too great.
As regards the original canvas and acrylic paintings, usually a coating of synthetic or natural resins
has been used to provide saturation and to protect the paint underneath from dirt, abrasion and
moisture.
All the paintings have been placed well away from direct sunlight and all other heat sources as
heat can soften paint allowing dirt and debris to be easily trapped in the softened paint and
varnish. The design of Kala Kendra is such that no moisture accumulates anywhere to cause any
damage. Proper light sources of proper intensity and wavelength have been installed to illuminate
the paintings when needed as ultraviolet light discolours dyes and colourants used in paints.
Humidity is an issue but there is not much that the Kala Kendra management can do, except keep
an eye on mold growth, black spots on paintings, which they are carefully doing. And the paintings
are being periodically dusted by natural hair artists brushes.

CHAPTER THREE

OBJECTIVES AND RESEARCH METHODOLOGY


THE OBJECTIVES OF THE PRESENT STUDY ARE: 1. To study the various attractions of the Kala Kendra.
2. To study the tourism potential at the particular site.
3. To suggest measures to make it a major tourist site.
The RESEARCH METHODOLOGY Used has been twofold.
(a). Collection Of Primary data: - by primary surveys of the museum artifacts and through
questionnaires, which will be collected from visitors visiting Kala Kendra.
(b). Collection of secondary data: - From data from various magazines, newspapers, websites,
books etc.
Next data analysis has been made with the use of various statiscal tools like averages,
percentages, pie charts etc..

CHAPTER FOUR
SAMPLE QUESTIONNAIRE FOR VISITORS VISITING KALA KENDRA JAMMU.
1. Gender

(a) Male (b) Female

2. Age
(a) less than 20 yrs (b) 20 40 yrs (c) 40 yrs (d) above 60 yrs

3. Marital status
(a) Single (b) Married (c) Divorced

4. Are you
(a) Tourist (b) Native of Jammu.

5. How you came to know about kala kendra :(a) Tourist broachers. (b) Advertisements and publicity (c) Your hotel staff (d) Locals (e) Any other
source

6. Any specific motivating reason for visit.


(a) Pahari paintings (b) Modern art (c) Sculptures (d) Portraits (e) Visuals of architectural heritage

7. Rating of the art collection at kala Kendra :(a) Poor (b) Average (c) Good (d) Very good (e) excellent

8. Do you think Kala Kendra is well maintained: (a) Yes (b) No

9. Do you find the drinking water dispensers in Kala Kendra adequate


(a) Yes (b) No

10. Do you think having an ethnic eatery in an isolated spot at Kala Kendra will be a good idea.
(a) Yes (b) No

11. Do you think that with enough promotion Kala Kendra can be developed as a top tourist spot in
Jammu.
(a) Yes (b) No.

ANALYSIS AND INTERPRETATION


Based on the questionnaire a survey was conducted of fifty visitors visiting Kala Kendra over a
span of fifteen days. A statiscal interpretation of their responses collected from them is as follows:
1 GENDER: - Of the fifty visitors 76% were male and 24% were female.
2. AGE: - Out of the total visitors 48% were in the age group of less than 20yrs, 40% were in the
age group of 20 40 yrs, and 12% were in the 40 60 age group.
3. MARITAL STATUS: - Of the total group 78% were single and 22% were married.
4. AWARENESS OF KALA KENDRA: - About 10% had come to know about Kala Kendra through
advertisements/publicity in newspapers, 80% had come to know of it through their friends, and
10% who were incidentally tourists from local friends.
5. VISITOR PROFILE: - 86% of the visitors were locals and 14% were domestic tourists from other
parts of India.
6. MAINTAINANACE OF KALA KENDRA:- 94% of the visitors think that Kala Kendra is well maintained
but 6% of visitors think that better maintenance is required.
7. DRINKING WATER FACILITIES: - 94% of visitors expressed dissatisfaction with drinking water
facilities on the premises and only 6% were satisfied with them.
8. ETHNIC EATERY: - 80% of visitors thought that having an ethnic eatery at an isolated spot in Kala
Kendra would be a good idea and 20% of the visitors opined that it might lead to crowding and
noise Pollution in Kala Kendra and may not be a good idea.
9. TOURISM POTENTIAL: - 96 % of visitors expressed the view that with enough promotion Kala
Kendra can be developed as a top tourist spot in Jammu. Only 4% of the visitors digressed from
this view.

CHAPTER FIVE
SUGGESTIONS AND CONCLUSION
Now the researcher will analyze the potential that the Kala Kendra has of being positioned as a
prime tourist attraction in the Jammu city. The prime factors in favour of kala Kendra are its
premium location and the art attractions it possesses.
To actualize the tourism potential of Kala Kendra the following points must be considered and
implemented appropriately in a phased manner.
1. Timing of kala Kendra: - Kala Kendra is usually open from 11 am to 5 pm. This timing is not ideal.
In mornings and afternoons most people are busy with their occupations. It is in evenings that
most working people, young professionals etc. have got some leisure time. Therefore the kala

Kendra must be open evenings also for people wanting to spend their leisure time admiring art.
Closing time in evenings should be varied as per the seasons.
2. Proposal for a ethnic restaurant: - A Govt. tourism department run ethnic eating joint offering
local Dogra cuisine and food items from the other cuisines if the region would be a great initiative.
It would enable people to visit in the day before and after the lunch hours also.
3. Installation of drinking water dispensers :- A few drinking water dispensers should be located at
suitable points around the premises
4. Need for a promotional campaign: - A concerted promotional campaign is needed to create
awareness about kala Kendra. The campaign may be structured along following lines
a). Some advertising boards promoting the attractions of the Kala Kendra along with those of the
other museums in Jammu city should be installed on the Jammu Katra route and in the town of
katra prominently for the benefit of domestic pilgrims who are visiting the Jammu region for
purposes of pilgrimage and /or tourism.
b). The official website of the tourism deptt. Of the Govt. of J&K should highlight Kala Kendra and
the other two museums attractively when detailing the attractions of Jammu city. And further the
promoters of private websites of tourism establishments, which focus on this region, should be
approached by the deptt. Of tourism of J&K govt. and requested to highlight Kala Kendra along with
other museums and attractions for a financial consideration if necessary.
c). Colleges and departments of Jammu university should be encouraged to plan art appreciation
trips to Kala Kendra.
d). Painting competitions should be held in appropriate places in premises of Kala Kendra. They
should not be for children but for higher age groups i.e. adolescents, youth and adults. These can
help to popularize art and promote kala Kendra.
e). Duplicate Paintings should be available for sale: - It would be highly desirable if the duplicates
of Pahari paintings and Basohli miniatures would be available to the general public for sale on at
least one or two times in a year. These duplicates may be authenticated by the department of
archives and museums ( J&K govt.) and sold at a reasonably high price to show their snob value.
This would spread art awareness through the society faster than any other measure and help to
promote Kala Kendra in the minds of the local populace.
f). Govt. of J&K is conceptualizing a plan in which licenses would be given to private promoters to
run tourist vehicles for Jammu Darshan. They will have to follow a prescribed route and itinerary.
Kala Kendra should also be prominently placed on this tour.
g). And as the Kala Kendra becomes well established as a house of art treasures, it will be a good
idea to impose an entry fee on visitors. It will generate revenue for better maintenance of Kala
Kendra and for improving facilities further.
To conclude the researcher has tried to deeply study and analyze the art treasures possessed by
Kala Kendra, the positive attributes that the Kala Kendra possesses and has tried to show that by
implementing suggested measures the hitherto unrealized tourism potential of Kala Kendra can be
actualized.