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A Rube Goldberg machine comes to life — literally — in a new dance piece
(New York Jewish Week) — Are we humans all parts of a meticulously crafted machine? Or are we independent beings, chaotically disrupting one another’s trajectories through time and space? Is there a difference between intentional and unintentional impact? Does it matter whether our movements are prompted by internal or external forces?
These are just some of the questions that surfaced as I watched footage of “Rube G. — the Consequence of Action,” a new work by acclaimed New York-based choreographer and dancer Jody Oberfelder. The piece — at once whimsical and thoughtful — explores the mechanical motions inherent in a classic “Rube Goldberg machine” (a chain-reaction contraption that typically involves levers swinging, cogs twirling, bits and bobs knocking each other on predetermined courses) as expressed through the human form.
Over four years in the making, the piece will make its debut March 4 at the Agnes Varis Performing Arts Center in Lower Manhattan. It will be performed for three consecutive weekends, culminating in a gala event on March 19.
The genesis of this 50-minute piece began four years ago, when musician Frank London of The Klezmatics was organizing an event celebrating 15 Jewish thinkers and creators — from philosopher Hannah Arendt to composer Morton Feldman — at the New York Public Library. Oberfelder, a director, choreographer and filmmaker dedicated to site-specific works that “expand how one experiences dance,” was invited to create a piece inspired by the work of Rube Goldberg (1883-1970), the Jewish cartoonist who drew his eponymous machines starting with Collier’s Weekly magazine in 1929. According to the Rube Goldberg Institute for Innovation and Creativity, these machines “solve simple problems in the most ridiculously inefficient way possible.” A classic example is the “Self Operating Napkin,” which wipes an eater’s face by using a combination of strings, counterweights and even a scythe.
Oberfelder was intrigued and, initially, a bit surprised by the assignment. “[Frank] said, ‘God, you’re Rube Goldberg! This is perfect for you!’ But it wasn’t until I started going deeply into research that I realized [he was right],” Oberfelder told the New York Jewish Week.
Oberfeld has had a long and illustrious career: She’s danced with and for the likes of composer Meredith Monk and choreographer Sally Silvers, and has traveled the world as a performer, guest choreographer and lecturer, from the University of Hawaii to London’s Victoria and Albert Museum. Still, this new prompt captivated her. “I realized we’ve been living the Rube Goldberg life all along,” she said, referencing the ways in which people are all tied together, an intricate array of human cogs. Soon, she was hooked on the ideas behind Goldberg’s fanciful genius.
An iconic Rube Goldberg cartoon, the “Self Operating Napkin,” was featured on a U.S. postal stamp honoring the cartoonist. (Rube Goldberg Inc.)
The resulting piece for the NYPL event was, according to Oberfelder, “a four-minute blast” that explores this idea. “We were running through the audience,” she told me, remembering that first dive into the world of order and chaos that is Goldberg’s philosophy. “[It seems like] a whole lot of something for nothing. But it is something — the joy of the moment to moment, while a marble is rolling down a slide, knowing that it [was there] and it worked.”
After that initial performance, Oberfelder wanted to explore more but, of course, the pandemic soon swept away any performance plans. Inventive as ever, she took the ideas she’d workshopped for London and created a second iteration: a film that combined over 300 clips of dancers responding to prompts like “spin” and “pop up.” Dancers and laypeople the world over, despite the social isolation, came together into a global Rube Goldberg machine.
Eventually, as COVID-19 restrictions lifted and the world began to open up, she took her new understanding of the themes and translated the film into a site-specific work that showed at Roulette, a Brooklyn theater, in 2021. That work was really the proto version of this newest take. It had the playfulness, the fun, the tumbling, the twirling. It wasn’t quite there, though. Not yet.
The piece explores big questions, including, as Oberfeld said: “What would a Rube Goldberg machine look like if it was performed by humans?” (Courtesy)
With “Rube G. — the Consequence of Action,” Oberfelder digs even deeper into her big idea — that everything we do is both influenced by others and influences others in both predictable and unforeseeable ways. To her, this idea has a philosophical connection to Judaism: “Everything here on earth happens and [it’s our lot] to live it to the fullest,” she said, adding that “the way in which we help each other along” is part of a Jewish ethos.
In the current iteration, four performers (including, briefly, Oberfelder herself) move in the space with a curious mix of clumsy and graceful motions. They are the machine — pushing, pulling, whirling in tandem — but their gestures seem, at times, independently determined. Are we all simply reacting to the actions of our peers? I wondered, as I watched one dancer dribble another one across the space like a basketball. Or do we have a choice in the matter?
While the dancers on stage explore the relationship one human has with another, a wild card, in the form of improvised audience participation, is added to the mix. Viewers who attend a performance of “Rube G. — the Consequence of Action,” may, at times, be called to interact with and define the direction of the piece. This element of the unknown will be folded into a meticulously planned piece which, like a Goldberg Machine, has a zillion moving parts that all seem random but somehow fall perfectly into place.
“During COVID, I got to a point where I was really analyzing the nature of performance and what I missed about it,” Oberfelder said. “What I felt was lacking was the effervescence of people coming together with different ideas to present something new…. I’ve tried to create an environment where we’re all here.” To Oberfelder, “all of us” includes the audience — and maybe people everywhere, too.
“It’s sort of like singing in the shower,” she added. “It’s nice, and it’s a great release. But actually, I would like these vibrations to go past my bathroom walls.” To that end, she’s brought her work to a simple space (“it’s just a big white box studio with very simple lighting”) and is welcoming audience members into the dance. As a result, each performance will be one-of-a-kind.
“What would a Rube Goldberg machine look like if it was performed by humans?” Oberfelder wondered aloud when we spoke, mulling over the various possible iterations. Now is our chance to find out.
“Rube G. — the Consequence of Action,” will be performed at The Agnes Varis Performing Arts Center, inside the Gibney Dance Center, at 280 Broadway on March 4-5, March 11-12 and March 18 at 7:30 p.m. A gala performance will be held on March 19 at 6:30 p.m. and will include post-performance food, drinks and a live auction. For tickets (from $15) and info, click here.
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The post A Rube Goldberg machine comes to life — literally — in a new dance piece appeared first on Jewish Telegraphic Agency.
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World Leaders Show Caution on Trump’s Broader ‘Board of Peace’ Amid Fears for UN
FILE PHOTO: U.S. President Donald Trump is interviewed by Reuters White House correspondent Steve Holland (not pictured) during an exclusive interview in the Oval Office in the White House in Washington, D.C., U.S., January 14, 2026. REUTERS/Evelyn Hockstein/File Photo
Governments reacted cautiously on Sunday to US President Donald Trump’s invitation to join his “Board of Peace” initiative aimed at resolving conflicts globally, a plan that diplomats said could harm the work of the United Nations.
Only Hungary, whose leader is a close Trump ally, gave an unequivocal acceptance in response to the invitations, which have been addressed to some 60 nations and began arriving in European capitals on Saturday, according to diplomats.
Other governments appeared reluctant to make public statements, leaving officials to express concerns anonymously about the impact on the work of the U.N..
The board would be chaired for life by Trump and would start by addressing the Gaza conflict and then be expanded to deal with other conflicts, according to a copy of the letter and draft charter seen by Reuters.
Member states would be limited to three-year terms unless they pay $1 billion each to fund the board’s activities and earn permanent membership, the letter states.
“This simply offers permanent membership to partner countries who demonstrate deep commitment to peace, security, and prosperity,” the White House said in a post on X.
Italian Prime Minister Giorgia Meloni, visiting South Korea, told reporters her country was “ready to do our part,” although it was not clear whether she was specifically referring to Gaza or the broader peace.
Canada’s Prime Minister Mark Carney said on Sunday he had agreed to Trump’s Board of Peace for Gaza in principle although details were still being worked out.
The Board of Peace’s mandate was only authorized by the United Nations Security Council through 2027 and was solely focused on the Gaza conflict.
‘DARK TIMES’
The inclusion of a “charter” in the invitation letter stoked concerns among some European governments that it could undermine the work of the United Nations, which Trump has accused of not supporting his efforts to end conflicts around the world.
“It’s a ‘Trump United Nations’ that ignores the fundamentals of the U.N. charter,” said one diplomat.
Three other Western diplomats said it looked as if it would undermine the United Nations if it went ahead.
A further three diplomats and an Israeli source said that Trump wanted the Board of Peace to eventually have a broader role beyond Gaza that would oversee the other conflicts that Trump has said he has resolved.
The leaders of France, Germany, Italy, Hungary, Australia, Canada, the European Commission and key Middle East powers were among those invited to sit on the Board of Peace, according to officials.
“Declaring that durable peace requires pragmatic judgment, common-sense solutions, and the courage to depart from approaches and institutions that have too often failed,” the document showed.
In what appeared to be directed at the United Nations, the document added that there was a “need for a more nimble and effective international peace-building body.”
Trump, who covets the Nobel Peace Prize, said in the letter that the board would convene in the near future, adding: “This board will be one of a kind, there has never been anything like it!”
In public comments in response to a reporter’s question, a senior UN official did not address the plan directly, but said the United Nations was the only institution with the moral and legal ability to bring together every nation, big or small.
“And if we question that … we fall back and very, very, dark, times,” Annalena Baerbock, president of the United Nations General Assembly, told Sky News, adding that it was up to individual states to decide what to do.
The White House on Friday named some individuals who will sit on the board, which would outlive its role supervising the temporary governance of Gaza, under a fragile ceasefire since October.
They included US Secretary of State Marco Rubio, President Donald Trump’s special envoy Steve Witkoff, former British prime minister Tony Blair and Trump’s son-in-law, Jared Kushner.
Israel and the Palestinian terrorist group Hamas signed off on Trump’s plan, which says a Palestinian technocratic administration will be overseen by an international board, which will supervise Gaza’s governance for a transitional period.
TRUMP GOES FOR GLOBAL PEACE ROLE
“It’s going to, in my opinion, start with Gaza and then do conflicts as they arise,” President Donald Trump told Reuters in an interview earlier this week.
Many rights experts and advocates have said that Trump overseeing a board to supervise a foreign territory’s governance resembles a colonial structure, while Blair’s involvement was criticized last year due to his role in the Iraq war and the history of British imperialism in the Middle East.
The White House did not detail the responsibilities of each member of the board. The names do not include any Palestinians. The White House said more members will be announced over the coming weeks.
It also named a separate, 11-member “Gaza Executive Board” to support the technocratic body.
This would include Turkish Foreign Minister Hakan Fidan, U.N. Middle East peace coordinator Sigrid Kaag, United Arab Emirates International Cooperation Minister Reem Al-Hashimy, Israeli-Cypriot billionaire Yakir Gabay and officials from Qatar and the United Arab Emirates.
Israeli Prime Minister Benjamin Netanyahu’s office said the composition of this board had not been coordinated with Israel and contradicted its policy – possibly a reference to Fidan’s presence, as Israel objects to Turkish involvement. Israel’s government also has a tense relationship with Qatar. An Israeli government spokesperson declined to comment beyond the statement.
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How the Israeli police’s first trans volunteer fought bigotry on the force
From the beginning of the biographical documentary The First Lady, Efrat Tilma makes it clear she has mixed feelings about the film, which details how she became the first trans woman to volunteer in Israel’s police department. When asked why she wanted to make the movie, she tells one of the directors, “I didn’t want to. You asked me.” This prickly demeanor persists throughout the film, although she later acknowledges that she wants “to show people that a trans woman is just like any other woman, like any other person.”
Tilma starts her story in 1964, the year she first tried living as a woman. Using archival footage, animation, and present-day interviews, directors Udi Nir and Sagi Bornstein present a moving portrait of Tilma’s life, unveiling how the burdens of her past have followed her into the present.
When Tilma was 14, she often wandered the streets of Tel Aviv to escape her abusive father. There she met another trans woman, Gila Goldstein, who introduced her to a whole network of trans women who taught Tilma about hormones and gender reassignment surgery. That same year, a man held her hostage in his apartment for a day and a half and sexually assaulted her. Not long afterwards, she says, an Israeli police officer threatened to kill her for dressing as a woman.
These experiences made her determined to carve her own path in spite of obstacles or the opinions of others, including the film directors. In one scene, as the team records her coming out of her apartment building, she strikes several poses.
“Natural, Efrat. We said natural!” a director reminds her.
“Kiss my ass!” Tilma responds, before strutting away.
But behind all the bravado is a vulnerable human being, who spends her first moment in the film nervously rehearsing the speech she is going to give at a 2023 Pride celebration in Israel. Tilma acknowledges that she’s not sure she’s been able to process her trauma and still carries it with her.
After leaving Israel in 1967, Tilma spent nearly four decades living in Europe, where she created a new life for herself as a woman. She performed in nightclubs, worked as an airline stewardess, got sex reassignment surgery in Morocco, married a man, and, nearly two decades later, divorced him. In 2005, she finally moved back to Israel and, on a whim, began volunteering with the Israel Police.
She wasn’t open about her gender identity at first, given the negative way she saw her colleagues treat trans women on the street. But when the police captain eventually discovered she was trans, the result ended up being positive: She began leading workshops on approaching the trans community with empathy and respect.
The film jumps between Tilma’s past and the present, as she reacts to Netanyahu’s 2022 re-election and the creation of a far-right coalition in Israel. Convinced that the world is reverting to the hateful days of her youth, Tilma leaves the police force and plans how she’ll kill herself if the government attempts to round up trans people. As protests start to sweep the country, however, she decides to channel her fear into activism. Shots of her among the protesters are mixed with recollections of her 1971 sex reassignment surgery and abuse she faced from a doctor in 1973.
Respecting Tilma’s boundaries while encouraging her to share her life story, the filmmakers capture both Tilma’s toughness and sensitivity, giving the film the honesty and heart that make The First Lady feel so intimate. They get Tilma to open doors into her life — literally.
Several times, the directors try to convince Tilma to bring the film crew into her apartment, where she says that no one else has been for a decade. When she finally lets them inside, they encounter piles of clothing, discarded plastic bottles, and other hoarded objects. The filmmakers tell her that the film crew will help her reorganize the apartment bit by bit, in much the same way they piece together her story: bit by bit.
Even if she approaches the whole process with a bit of attitude, Tilma remains determined to never give up fighting for a better life — or a better apartment.
The First Lady will screen at the New York Jewish Film Festival on Jan. 20.
The post How the Israeli police’s first trans volunteer fought bigotry on the force appeared first on The Forward.
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Exclusive: Israeli Officials Harshly Critical of Steve Witkoff’s Influence on US Policy on Gaza, Iran, i24NEWS Told
US Middle East envoy Steve Witkoff, Washington, DC, Jan. 20, 2025. Photo: REUTERS/Carlos Barria
i24 News – Amid growing disagreements with the Trump administration over the composition of the Board of Peace for Gaza and the question of a strike on Iran, officials in Israel point to a key figure behind decisions seen as running counter to Israeli interests: Special Envoy Steve Witkoff.
The officials mention sustained dissatisfaction with Witkoff. Sources close to the PM Netanyahu told i24NEWS on Saturday evening: “For several months now, the feeling has been that envoy Steve Witkoff has strong ties, for his own reasons, across the Middle East, and that at times the Israeli interest does not truly prevail in his decision-making.”
This criticism relates both to the proposed inclusion of Turkey and Qatar in Gaza’s governing bodies and to the Iranian threat. A senior Israeli official put it bluntly: “If it turns out that he is among those blocking a strike on Iran, that is far more than a coincidence.”