There have been multiple reactions to the political rallies, demonstrations and the sit-ins held both by the Pakistan Tehreek-e-Insaaf (PTI) and the Pakistan Awami Tehreek (PAT). But the one constant pointed out and condemned by most from all sides of the political spectrum has been about the style adopted by the Pakistan Tehreek-e-Insaf in particular.

They have all focused on dance and so have cast the entire politic protest as being very frivolous. Thus, it can be argued that the political protest or the dharna became non-serious affairs because physical bodily movement  was used. Similarly the presence of a large number of women, young women and those not from the slums, too initially evoked surprise, and then gradually the pleasant reaction turned into banter before it started to get nastier.

As if not to be kept out the Pakistan Awami Tehreek also organised a qawwali in the dharna; those media men monopolising the talk shows were initially baffled by this form included in the protest before they started to ridicule it on the basis that no serious political movement could make music its vehicle of dissent.

It may be said at the very outset that the writer has no sympathy with the political stand taken by the Pakistan Tekreek-e-Insaaf and the politics of the Pakistan Awami Tehreek in substance. But it is only surprising that the criticism from the other parties instead of being on substance -- and there is plenty of meat in it to feed on -- has unfortunately spilt over to mannerism and style. Politics at hand is being tarred by the brush of deep seated prejudice against certain artistic devices.

The reaction to music, dance and women is a reflection of the deep seated bias that this society at least the middle classes in this society have about the performing arts. Within no time people jump in their assumption from the practice to the practitioner and then feel great upliftment in slotting them. If they happen to be women then the slotting is easier done, and the case is rested through a said condemnation or an unsaid castigation through leery expressions and all knowing smiles.

People find it difficult to come out or break the stereotype or a stock impression but find great solace in reaffirming a stated position. Some of the women politicians and commentators unfortunately were the most vocal, seeing their gender on the streets shunning inhibition to enjoy the street party. If nothing else their envy may have turned into a grouse.

In the psyche is embedded the image, the oft drummed view or an estimation that this society has nourished its norms with. Whenever any physical movement is seen, it is considered as an expression of leh o lab and hence enticing, -- alluring and so frivolous as not to be worthy of adequate attention. Not meant to be taken seriously, it is merely light heartedness and a means of unwinding.

Some of the most vibrant or intensely political movements have made dance their mode of expression, a protest or a style of defiance. The most notable being the African National Congress. Dance accompanies it even now in both formal and informal occasions. One of the first gestures to be made by Nelson Mandela after he was released was the raised fist and then steps of the dance which had become the signature tune of movement/emblem of the African National Movement.

But people will say that all that may be integral to the African culture or acceptable in their daily lives but that does not mean it is universally applicable. People will say that what is right in Africa is not right in Pakistan, and the protest or the expression has to be culturally specific and acceptable.

Such narrow reading and acceptance of culture has been the bane of our society. The prejudice was rampant in alienating the Bengalis from the mainstream cultural expression of a united Pakistan. People came back from East Pakistan vexed to take a stated position of the Bengali society being too influenced by Hindu Culture. The acceptance of music and dance as part of everyday culture could not be digested by the Punjabi Pathan Inc and had to be denounced as the other.

The artistic devices are being used or employed in society all the time. It is music as in recitation of a text, the national anthem, a taranna or a slogan that is repeated, chanted or uttered in a charged fashion facilitated by versification.

The usual method of livening up a political rally or to make it an embedded memory, the slogan or the narra is endemic.

The only reservation is about the very poor quality of music and dance. The quality of qawwali was truly appalling. Pakistanis do not pay enough on quality and are averse to exploring the possibility of style suitably influencing substance as well. It is generally seen that life imitates arts rather the other way round so the countrymen and its leaders should entertain the option of improving the quality of their means. As if by miracle it may justify the end.