In the first few moments of Parallel Passions, the program devised for Mavin Khoo Dance and toured extensively around Britain in the fall of 2003, the halflight atmosphere creates difficulties in distinguishing among dancers (Fig. 1). Bodies, genders, technical backgrounds, and ethnicity become subsumed for a few short moments to a greater purpose that is unconcerned with the trappings of identity, and the viewer begins to wonder optimistically how this will evolve. The effect is not sustained, however, and another evening of worthy crosscultural experiments in dance forms unfolds. Being momentarily surprised in this way helped to develop some interesting ideas. What remains in memory are those extraordinary moments where the project of Modern Britain seemed suddenly to have shape and be given expression. The eclectic mix of the dancers and their heritages, cultural and professional, was abandoned as a preoccupation. This allowed, albeit momentarily, a protean practice to peep through the layers of cultural ritual. The embrace of ballet and bharatanatyam cited in the promotional literature became momentarily irrelevant. But then, as if recalling the essence of the project and its obligation to teach lessons about sympathy and tolerance through the arts, a touring show financed by six different funding sources remembered itself and resorted to comparing and contrasting, later abandoning seriousness altogether for a light-hearted jazzbased club number. During a ponderous second half the dancers looked to be willing a connection that would not come, and then it was over.