Uncategorized
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.
—
The post A Rube Goldberg machine comes to life — literally — in a new dance piece appeared first on Jewish Telegraphic Agency.
Uncategorized
Israel Estimates US Blockade of Strait of Hormuz to Slash Iran Oil Exports by 80%
A vessel at the Strait of Hormuz, off the coast of Oman’s Musandam province, April 12, 2026. Photo: REUTERS
As Iran struggles to rebuild damaged military and energy infrastructure amid the current ceasefire, Israel estimates that a US naval blockade of Iranian ports will slash the regime’s oil exports by roughly 80 percent, nearly severing one of Tehran’s last remaining economic lifelines.
According to Israeli security assessments, the US closure of the Strait of Hormuz — a critical global energy chokepoint through which about one-fifth of the world’s oil supply passes — triggered an immediate and dramatic collapse in Iran’s revenue that will lead to a loss of more than $1 billion a month, Walla reported.
US President Donald Trump has claimed the regime is losing about $500 million a day as a result of the blockade. Some experts, such as Miad Maleki of the Foundation for Defense of Democracies think tank, have put the figure at roughly $450 million lost in daily economic activity for Iran.
Regardless of the specific amount, given that energy exports remain the backbone of the regime’s economy, what is left of oil revenues now amounts to little more than a fragile lifeline keeping Tehran temporarily afloat as financial pressure continues to mount.
Even with the naval blockade in place, Iranian authorities have managed to maintain a limited flow of exports by transporting oil from inland production fields to the Gulf of Oman through the multi-billion-dollar Gura–Jask pipeline, an overland route that moves roughly 300,000 barrels per day to global markets.
Israeli officials assess that the blockade and resultant shortfall for Tehran could set off a chain reaction of disruptions, including the shutdown of entire segments of the oil industry.
They also point to severe damage across Iran’s petrochemical and defense sectors, which together have cost an estimated 100,000 jobs at multiple levels, arguing that the cumulative impact is pushing the Iranian regime into a corner.
After repeated efforts to bring Iran back to the negotiating table, the Trump administration escalated pressure on Tehran earlier this month by imposing a naval blockade on vessels entering or leaving Iranian ports through the Strait of Hormuz, aiming to force a deal that would bring an end to the conflict.
Since the start of the war earlier this year, Iran has used control over the Strait of Hormuz as a major source of leverage, militarizing the waterway and sharply restricting maritime traffic through one of the world’s most critical shipping corridors.
Iran has also signaled it intends to maintain control over the strategic shipping lane even after the war ends, potentially imposing transit fees framed as compensation for wartime damage.
After Trump extended the ceasefire indefinitely on Tuesday to allow for renewed diplomatic efforts, it now remains to be seen whether Iran will agree to return to negotiations, as questions persist over whether both sides can bridge widening differences to restart talks.
According to The New York Times, US officials previously proposed a 20-year halt to Iranian uranium enrichment, which Iranian negotiators countered with a five-year suspension that Washington rejected. The White House has also reportedly insisted that Iran dismantle major enrichment sites and surrender more than 400 kilograms of highly enriched uranium.
Even as the regime faces one of its most severe economic crises in decades, Iranian authorities have continued pouring billions into rebuilding military and nuclear infrastructure and supporting regional proxy forces, prioritizing strategic confrontation with Israel over urgent domestic needs such as the country’s worsening water crisis.
The regime has spent billions of dollars supporting its terrorist proxies across the Middle East and operations abroad, with the Quds Force, Iran’s elite paramilitary unit, funneling funds to the Lebanese group Hezbollah, in defiance of international sanctions.
According to the US Treasury Department, Iran provided more than $100 million per month to Hezbollah in 2025, with $1 billion representing only a portion of Tehran’s overall support for the terrorist group, using a “shadow financial system” to transfer funds to Lebanon.
Uncategorized
VIDEO: A creative way to make Yiddish come alive in the classroom
לעסלי טערנער, אַ גראַדויִר־סטודענטקע אין פּראָפֿ׳ אַנאַ שטערנשיסעס קלאַס בײַם טאָראָנטאָ־אוניווערסיטעט, האַלט בײַם פֿאַרענדיקן אַ מאַגיסטער אין ייִדיש־לימודים. זי האַלט, אַז זי — און אַנדערע ייִדיש־סטודענטן — קענען העלפֿן אױפֿהאַלטן די ייִדישע שפּראַך דורכן שאַפֿן נײַע ווערק אין ייִדיש.
מיט פֿינף יאָר צוריק האָט זי אָנגעהױבן שרײַבן און אינסצענירן ליאַלקע־שפּילן אױף ייִדיש. דאָס איז געװען דער אָנהײב פֿון אַ סעריע אויפֿפֿירונגען, ניצנדיק צוויי ליאַלקעס: אַ הײַפֿיש וואָס הייסט הײַפֿישעלע, און אַ פּיפּערנאָטער. יעדן זומער פֿירט זי אויף אַ ליאַלקע־שפּיל אויף דער „ייִדיש־וואָך“, אין איינעם מיטן שיקאַגער ייִדישיסט אַבֿי פֿריד.
לעצטנס האָט טערנער און אַ צווייטער סטודענט, גריים מײַערס, אויפֿגעפֿירט אַ נײַ־געשאַפֿענע ליאַלקע־שפּיל אין שטערנשיסעס קלאַס, פֿילמירט דורך צוויי אַנדערע סטודענטקעס מרים באָרדען און אליזה אַוטען. די פֿאָרשטעלונג, „הײַפֿישעלע און פּיפּערנאָטער קומען קײן ניו יאָרק“, האָט אַזאַ סיפּור־המעשׂה:
הײַפֿישעלע און פּיפּערנאָטער פֿאַרלאָזן זײער שטעטעלע און פֿאָרן קײן ניו־יאָרק, כּדי פּיפּערנאָטער זאָל קענען ממשיך זײַן זײַן קאַריערע ווי אַן אַקטיאָר. דאָס יאָר איז 1916 און די באַרימטע אַקטריסע בעסי טאָמאַשעפֿסקי פֿירט אָן מיט איר אײגענער טעאַטער־טרופּע. זי האָט נאָר װאָס געהאַט אַרױסגעגעבן איר לעבנס געשיכטע.
בעסי מוז אָבער קאָנקורירן מיט איר אומגעטרײַען מאַן, דעם באַרימטן אַקטיאָר באָריס טאָמאַשעפֿסקי, וואָס האָט אויך אַ טעאַטער־טרופּע. באַשליסט זי צו געבן פּיפּערנאָטער אַ ראָלע אין אַ ייִדישער איבערזעצונג פֿון שייקספּירס פּיעסע „האַמלעט“, וווּ זי אַליין שפּילט די הויפּטראָלע.
דאָס וואָס טערנער שרײַבט און פֿירט אויף ליאַלקע־שפּילן ווי אַ טייל פֿונעם ייִדיש־קלאַס קאָן טאַקע דינען ווי אַ מוסטער פֿאַר לערער און סטודענטן פֿון ייִדיש־קורסן איבער דער וועלט. ערשטנס, העלפֿט עס פֿאַרבעסערן די שפּראַך־פֿעיִקייטן פֿונעם מחבר, די ליאַלקע־שפּילער און די צוקוקערס. צווייטנס, קען עס אַרײַנברענגען אַ היימישע, חבֿרישע שטימונג אינעם ייִדיש־קלאַס.
— שׂרה־רחל שעכטער
The post VIDEO: A creative way to make Yiddish come alive in the classroom appeared first on The Forward.
Uncategorized
Israel Competes in World Cheerleading Championships for First Time Ever
Israeli national flags flutter near office towers at a business park also housing high tech companies, at Ofer Park in Petah Tikva, Israel, Aug. 27, 2020. Photo: REUTERS/Ronen Zvulun
Israel is competing for the first time ever in the 2026 ICU World Cheerleading Championships.
The competition begins on Wednesday, which is also Israel’s Independence Day.
The ISCU, the official cheerleading organization in Israel that is supported by EL AL Airlines, made the announcement and posted footage on Instagram of the athletes and their final rehearsal before flying to the US for the competition, which will take place until Friday in Orlando, Florida. Ludmila Yasinskaya-Demari is the president of the Israel Cheer Union.
“Today, on Israel’s Independence Day, the Israeli cheerleading team has the honor of competing on the world stage,” the ISCU wrote in an Instagram post. “It’s a very moving and meaningful moment for us to represent Israel on such an important day — with pride, strength, and love for our country. Thank you to EL AL for supporting us in this way. There’s something symbolic and special about flying and competing with Israel’s national airline. From Israel to the world — the Israeli team is ready.”
The championship is being held at the ESPN Wide World of Sports complex at Disney World, and is organized by the International Cheer Union, the official world governing body for cheerleading. Israel is a member of the European Cheer Union and the International Cheer Union. It will compete in the POM category and in two doubles pairs competitions.
Team USA is after its ninth, consecutive co-ed premier world title at the World Cheerleading Championships. The US has won gold since 2021 and also won the competition from 2016 through 2019. The competition was not held in 2020 due to the COVID-19 pandemic.
In 2015, the US came in second place behind Team Chinese Taipei. The US is also the defending champion in the All Girl Premier category.