akistan has long tried to look away from India. This is particularly true of state patronage for cultural expression. One of the forums the state could have used in this regard and has failed to benefit from is platforms in neighbouring countries to the west and the north.

The CENTO (Central Treaty Organisation) was always meant to be a military alliance but the RCD (Regional Cooperation for Development) had a bigger vision and agenda that went beyond security and economic interests. It was followed by the ECO (Economic Cooperation Organisation) but that too did not live up to its potential. The soft power of culture was a major factor in bringing the three countries together. Alas, not much was achieved through the RCD/ ECO after various geopolitical developments transformed the region, particularly Iran and then Afghanistan.

One reason for this could be that most Pakistanis do not know enough about the cultural traditions in these societies. Maybe we do not want to learn about these societies because the cultures do not conform to our perceptions of these societies. Over the years, the cultural space has shrunk and the version of the cultural profile of Pakistan to be projected abroad has been skimmed immensely. A more inclusive and representative profile of the country that may have been promoted in the past has come to be seen as inimical to the one that we want to project now.

After the Mujahideen resistance took over in Afghanistan, droves of Afghan musicians and performers from that country migrated to Pakistan and Peshawar became the capital of Afghan culture that closely corresponded to the culture that thrives in the Pashtun areas in Pakistan. The Taliban takeover caused another wave of greater intensity to follow. Making a distinction between the two cultural traditions does not inspire much confidence in those who want cultural bridges across societies.

When a Muttahida Majlis-i-Amal government took over in what is now the Khyber Pathkunkhka province in the first decade of the 21^st Century, music and the performing arts were banned. Many of the artistes then moved back to Afghanistan carrying their assests, tangible and otherwise. During the Karzai and Ghani regimes they set up flourishing businesses that markets Afghan culture and exported their products across the world.

Culturally trade between Pakistan and the Central Asian Republics that were once part of the USSR has been very limited. State structures in these countries are still heavily dependent on the Soviet era models. It should not be forgotten, however, that these regions have been very fertile in supplying the raw materials of literature, mythology and folk lore.

When the Ghani government fell and the Taliban took over in Kabul, the Afghan popular culture once again became a refugee. Many of the artistes could not simply go on and did not know where to go except Pakistan.

Forms and ideas from Afghanistan have been flowing into Pakistan and beyond for thousands of years. However, not many people know enough about the Iranian culture for a sustained exchange or collaboration to materialise. The recent regimes in Iran and Pakistan too have not inspired confidence in their artistes to freely display their cultural expression across the borders.

Exchange of artistes between Pakistan and Iran is extremely limited. Also, it has always been surrounded by the fear that it might not be regarded as compliant with the official version.

In the Chinese region that borders Pakistan the cultural expression is too sparse to be an export or an influence in Pakistan. The political issues, particularly the importance of nationalism, may be a factor that hinders the free flow of music, dance, poetry and films across the borders.

Similarly, culturally trade between Pakistan and the Central Asian Republics that were once part of the USSR has been very limited. State structures in these countries are still heavily dependent on the Soviet era models. The strict state controls may be a reason for restricted flows. It should not be forgotten, however, that these regions have been very fertile in supplying the raw materials of literature, mythology and folk lore.

Our cultural practices have been an amalgam of the practices of these areas and Iran. It is about time that the flows that informed the making of our culture is rehabilitated. The SCO (Shanghai Cooperation Organisation) can play a big role in this direction.

It may be difficult for now to jump over the political differences that saddle bilateral relations. Ideally, culture should forge its own path and cultural relations should override other differences.

The writer is an art critic based in Lahore