Wednesday, February 4, 2009

पश्चिम क्षेत्र सांस्कृतिक केन्द्र के बारे में कुछ जानकारी A Few Words about WZCC

West Zone Cultural Centre , UDAIPUR, INDIA
is one of the seven Zonal Cultural Centres set up by the Govt. of India to provide facilities for the creative development of performing arts, visual arts, traditional folk & tribal art forms and literary pursuits in the western region of India in the states of Rajasthan, Gujarat, Maharashtra, Goa and union territries of Daman, Diu & Dadra Nagar Haveli. The main thrust of the Zonal Cultural Centres is to network and disseminate cultural activities in rural India and build up linkages among various folk art forms at village, district, state level, inter and intra-zonal level among the member states in association with the various art academies of state and Central Govt. There is a special emphasis on artists' creativity, peoples' participation and revival of vanishing arts & crafts.

Kala-Prayojan Quraterly is the most regular, prime publication of WZCC.

A painter-Administrator, Dr. Devendra Kumar धोदावत, IAS (Kerala Cadre) was the publisher of this journal and also the Director of the WZCC. uptill now. All enquiries regarding the membership and subscription etc. may be addressed to Director on


  1. kala-prayojan apne aap mai sampuran hai .sach mai ye vicharo aur sarjnatmakta ka mishran hai .

  2. Dear Marie, Welcome! Please read the new post about the SURVEY QUESTIONNAIRE and respond. We are waiting....

    Artist Statement--Marie Kazalia
    The image presented here represent the emergence of color and language influences from her 4 expatriate years in the Asian countries of Japan, India and China---primarily in the cities of Tokyo, Madras(now Chennai) and Hong Kong.
    As an American, born in Toledo, Ohio, with a Bachelor of Fines Arts degree from the California College of Arts in the San Francisco bay area, she studied Japanese at a private language school in Tokyo where she practiced speaking, reading and writing Japanese kanji, hiragana and katakana characters. Hiragana and katakana the more modern simplified characters most often used on the many large neon signs in the urban centers of Tokyo.
    She also traveled, lived and taught in India for one full year, then moved to Hong Kong and enrolled in a Mandarin language course at the Chinese University-- studying conversation, reading, and writing Chinese characters. Being able to read hundreds of the most common Chinese characters made it easier for me when she traveled by train through mainland China (the PRC=Peoples Republic of China) to Beijing, then down to Shanghai, and back to Hong Kong, and during my one month stay in Taipei, Taiwan (the ROC=Republic of China). She was able to read street signs, shop signs and advertisements in Chinese throughout the PRC & ROC.
    Each of my artworks contains variations on various aspects of characters from the written Chinese, Korean, Japanese, HIndi Sanskrit and others languages-- revealing an aspect of the beauty of each shape and structure--becoming more like symbols than meaning of words. The oversized dominant forms of Japanese language characters in Tokyo street signs, as identification or to advertise a product, have held their strong impact on me in conjunction English lettering and product imagery in advertisements and on large American billboards, and with the Chinese calligraphic characters she enlarge and abstract by combining, reversing, overlapping, filling, fragmenting and distorting.
    Now, as returned expatriate, the color influences of Japan, India and China and the forms of the written characters of the languages of these countries, as well as the other Asian countries she visited for shorter periods--Thailand, Malaysia, Singapore, and South Korea--reemerge in their new abstracted and combined forms, in conjunction with the English letters of my native language, with overlays of color to obtain the translucency, transparency, or opacity of the drawn stroke visualized before she begin.