The Story of Stuff

A very actual example for problems that come up when a thought-system is incomplete but has very real consequences for the real world:
The Story of Stuff 20 minute video performed by Annie Leonard.

There are several versions with subtitles in different languages available here:

This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 Unported License. >>> SENT BY JULI GABOR working on her new kinds of dance in Denmark...

What it has to do with (new) dance?
i think it's quite simple:
dance too has its (thought) patterns and ideologies that are given from the older generation to the younger generation. And here, too, those thought patterns can create very real problems when they get put to practice, but don't really match too well with the actual situation: for example, the number of professional dancers in classical ballet and its modern derivates, who continue to work with serious injuries and a high level of pain, even when they are still in their education, is staggeringly high according to much research. So much for one kind of thinking ruining natural resources (kinesthetically driven imagination being one of them...)
Q.E.D. ...

another is the expectation-pattern of the mainstream that the energies of life would have to be canned into specifiable and recognizable dance and dramaturgy / drama / scenography patterns, presumably with very finitely rehearsed, often pre-fab derived dance vocabulary.
a lot of life-energy is put into these mechanisms - what's left for the moment of performance? how lively is such a piece in performance? how much individuality or orginality can be revealed, at the risk of being non-understandable?

how come that dance forms where individualism is not seen as important except for a few stars (e.g. in showdance) fare so well economically by comparison? (not necessarily when it comes to the wages of the dancers who participate in these circles, again unless they get to be a shining individual)?

and what about the laboratories where alternative kinds of dance are being developed and promoted? how much can they work towards a different future, how much are they bound by current mind-patterns and needs that are often those very left-overs from the past?...

* addition Feb. 10th:
all this said, I believe all the in-between choreographers who partly conform to standardized expectations, but manage to bring in their own liveliness, can be of extraordinary value in this situation. how much effect does their input have and what will be short-term and long-term effects. how long will it be sustainable for them and at what price?

collaborativeness, again, seems to be the winning strategy over merely just separation and seclusion.