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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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At Grossinger’s in the Catskills, Jews learned how to be American
Jewish resort culture in the Borscht Belt peaked in the mid-1950s when there were 538 hotels, 50,000 bungalows, and 1,000 boarding houses. Among the best known was Grossinger’s where Jewish singles mingled with the likes of Lucille Ball, Milton Berle and Elizabeth Taylor over the course of the resort’s more than seven-decade existence.
We Met at Grossinger’s, a documentary directed by Paula Eiselt (Under G-d, 93 Queen), explains how Grossinger’s became so successful despite the fact that its founder had only a sixth grade education. In 1900, at the age of 8, Jennie Grossinger immigrated with her family from Galicia, Austria to New York. She dropped out of school and began working as a buttonhole maker to help support her family, until her father became sick and they moved to the Catskills. Her father hoped to start a farm, but the family found the rocky land was better suited for a boarding house than crops. Jennie managed the inn while her mother oversaw the kitchen, and she eventually made enough money to purchase a larger building down the road.
The documentary features a range of interviewees, including Grossinger’s descendants, historians, and celebrities, such as Jackie Hoffman and Joel Grey, who frequented the resort. With its snappy editing and in-depth approach to the history of the culture, the film brings the past back to life and captures how the resort became ingrained in people’s personal lives.
Grossinger’s grandson Mitchell Etess estimates that thousands of couples met there. Hoffman says it’s where she had her first makeout session with a boy. Former employees say Grossinger’s elite guests motivated them to pursue better education and careers. Multiple interviewees say the resort was a home away from home.
Archival footage of people dancing, swimming, dining, and being entertained takes viewers back to the glitz and glamor of the Catskills in its heyday. Although Jewish resorts were founded in response to antisemitic exclusion at other places, the joy Jews were able to create for themselves diminishes the darkness of this bigotry.
The resorts gave Jews a place to escape antisemitism and be among people with a shared culture. For Holocaust survivors it provided the opportunity to connect with others who could understand their trauma. Jewish athletes like boxer Barney Ross (born David Rosofsky) relied on Grossinger’s as a place where they could train and get kosher food. Jews also got a crash course on assimilation, learning how to engage in American social activities like golfing and playing tennis without fear of judgment.
It wasn’t just Jews that fled to the Catskills. Bard College professor Myra Armstead’s grandparents moved there during the Great Migration and opened the Gratney M. Smith, a boarding house for Black workers and vacationers. Jackie Robinson was an invited guest at Grossinger’s and became friends with Jennie. The Jewish Vacation Guide, which pointed Jews to safe housing and dining in the area and around the country, inspired the Green Book, which provided the same functions for Black people.
But in the 1970s, when it became easier for Jews to vacation with non-Jews, the resorts became less of a necessity. Buildings in the city now had air conditioning, so people didn’t have to escape to the mountains for cooler weather. Teenagers and young adults began to prefer to spend their vacations with friends or doing activities that didn’t involve being attached at the hip to their parents or grandparents.
In 1987, a year after Grossinger’s closed, the lost culture it had once embodied was given renewed attention in Dirty Dancing. Although the film avoided explicit mentions of Judaism, the fictional Kellerman’s was based on Grossinger’s and the script was written by resort regular Eleanor Bergstein.
Now, younger generations are starting to take an interest in the Borscht Belt culture. The Marvelous Mrs. Maisel has exposed new audiences to this old form of Jewish vacation culture. Photographers Marisa Scheinfeld and Isaac Jeffreys have created photography collections of abandoned Catskill resorts. The Borscht Belt Museum teaches visitors about this bygone period.
But unlike fictional media and photos of the past, We Met at Grossinger’s offers firsthand accounts of life in the Catskills from those who lived it, adding a personal dimension to this new wave of Jewish nostalgia.
We Met at Grossinger’s will have its world premiere at DOC NYC on November 13, with subsequent screenings on November 16 and 19.
The post At Grossinger’s in the Catskills, Jews learned how to be American appeared first on The Forward.
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Why won’t pro-Palestinian protesters turn their attention to Darfur?
Here’s a stark fact: More people may have been killed in Sudan in just the past week than in Gaza in the past two years.
“They’re killing everyone that moves,” said Nathaniel Raymond, executive director at Yale’s Humanitarian Research Lab, in a recent interview with Mehdi Hasan. Raymond’s lab has tracked the carnage via satellite imagery, witnessing the slaughter of innocent civilians in real time.
And the main source for the weapons destroying the Black, non-Arab population in Darfur is the United Arab Emirates, one of the United States’ closest allies in the Middle East.
So where are the American protesters?
A major reason American protesters have relentlessly focused their time and energy on Israel, they say, is that the U.S. is Israel’s most significant ally, as well as an arms supplier to the IDF. There are real actions the U.S. could take to sway the course of events in Israel, so protesters aim to influence the U.S. government to do so.
But the U.S. has ties to conflicts all over the world, especially in Sudan, where a major American ally is helping supply the weapons of slaughter. The idea that its ability to pressure Israel is unique, and therefore worthy of unique focus, is misguided.
“Only American pressure can stop the killing in Sudan,” wrote Alex De Waal, executive director of the World Peace Foundation, in Foreign Affairs. So why aren’t American activists, well, active?
A genocide to rival Rwanda
The UAE has $29 billion in active defense contracts with the U.S. It is also host to — and protected by — the 380th Air Expeditionary Wing and Jebel Ali Port, the U.S. Navy’s largest port of call in the Middle East.
And while UAE officials have denied that they are arming the Arab militia, known as the Rapid Support Forces, responsible for the genocide, diplomats, humanitarian groups and journalists have confirmed the link. Three of the same organizations that pro-Palestinian activists regularly cite in their brief against Israel — the United Nations, Human Rights Watch and Amnesty International — have established the UAE’s complicity.
Every crime American protesters accuse Israel of — killing civilians among military targets, rape, starvation as a weapon, destroying hospitals and killing patients in their beds — is happening now, at a far greater scale, in Darfur.
“Rebels hurl racial insults at fleeing women and children,” the Wall Street Journal reported. “Black women with long hair are systematically separated and raped.”
Humanitarian groups say the ongoing slaughter is likely to rival that of Rwanda genocide, and of the genocide that took place in the same Darfur region 30 years ago. That atrocity, led by a predecessor to the RSF, claimed 200,000 lives.
Why would the UAE supply weapons to be used in such a context? Perhaps because it uses Sudan’s mines to supply gold and other resources, and wants to stay on the good side of a group primed to exercise control over ongoing access.
“The war would be over if not for the UAE,” Cameron Hudson, a former chief of staff to successive U.S. presidential special envoys for Sudan, told the Wall Street Journal. “The only thing that is keeping them in this war is the overwhelming amount of military support that they’re receiving from the UAE.”
In the U.S., silence
So where are the protesters shouting at their representatives in town halls to suspend the recent $2 trillion investment agreement between the U.S. and UAE? Pushing sanctions against the UAE? Or demanding New York University shutter its Abu Dhabi campus?
Where are the movie stars and director refusing to engage with the UAE, which according to Variety is the “prime Middle East hub” for Hollywood production? Javier Bardem, who recently said he will no longer work with the Israeli film industry, filmed part of his last movie, F1, in Abu Dhabi last year. What if he said no more?
Imagine the impact if, instead of unveiling her new fragrance, Orebella, at a splashed-out event last week in Abu Dhabi, supermodel Bella Hadid announced that just as she calls relentlessly for the world to boycott Israel, she will no longer visit the Emirates until it ends funding for the genocide in Darfur?
This is not an argument for whataboutism, and none of this is to deflect attention from the injustices and suffering happening in the West Bank and Gaza. Everyone has a right to choose their battles. I don’t ask the Save the Whales people, “But what about the rainforest?”
But if someone is actively bombing the rainforest, today, as you read this — and your country is in bed with the bomb suppliers — then claiming to care about the planet and doing nothing is inexcusable.
“This is not only a crisis of violence but also a crisis of indifference,” wrote Reena Ghelani, CEO of Plan International in Al Jazeera. “Each day the world looks away.”
And the go-to excuse, that Americans lack leverage and influence over the slaughter, is utter BS.
The post Why won’t pro-Palestinian protesters turn their attention to Darfur? appeared first on The Forward.
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Toronto’s Mayor Encourages Antisemitic and Anti-Israel Harassment — as She Struggles to Govern the City
Toronto Mayor Olivia Chow speaks to reporters in Toronto, March 8, 2025. Photo: Christopher Katsarov/The Canadian Press via ZUMA Press via Reuters Connect
A ceasefire is holding in Gaza. In places like Ypsilanti, Michigan, and Bridgeport, Connecticut, where the mayor’s tenure was interrupted by a seven-year prison stint, local governments will have to drop their calls to end the war and get back to the boring business of running their cities.
Beleaguered Jewish residents across North America, who have gritted their teeth through an unprecedented spike in antisemitic attacks, are surely breathing a sigh of relief.
Earlier this month, however, Toronto Mayor Olivia Chow decided to dust off the Israel punching bag for one last go.
Speaking at a fundraiser for The National Council of Canadian Muslims in Brampton — Canada 7th largest city — Chow claimed, “the genocide in Gaza impact [sic] us all.”
Encouraged by the audience’s applause, she then got personal: Chow told the audience that when her mother was 13, Chow’s grandmother died of dysentery as a result of Imperial Japan’s invasion of China during World War II, leaving Chow’s mother alone to care for her siblings.
Reasonable people can disagree about the proportionality of Israel’s response to the barbarity of Hamas and fellow terror groups’ attack on October 7, 2023. But to compare it to a war whose explicit goal was conquest — and which resulted in an estimated 20 million Chinese deaths — is more of an apples to elephants comparison than apples to oranges.
More troubling was Mayor Chow’s glib use of the phrase “genocide.”
A sculptor by training — who spent her professional career in mostly local politics, with a stint as a member of parliament for Canada’s perennial also-ran socialist party — Chow is not well qualified to be making legal conclusions.
The timing was particularly ham-fisted, given the fact that only days earlier, reports had surfaced of a massacre in Sudan, one in which the blood of more than 2,000 unarmed civilians ran so deep that it could be seen in satellite images.
In Israel, the country’s roughly 6,600 Sudanese refugees see little daylight between the murderers of Darfur and Hamas.
But for devout leftists, when an Arab-supremacist Muslim paramilitary murders African Muslims, the Intersectional Bingo scorecard gets to be a confusing place.
Nevertheless, if one is looking to lob the “genocide” grenade or to find modern comparisons to the Rape of Nanjing, Sudan would be the most intellectually honest place to start. One suspects the applause from the Brampton crowd would have been somewhat thin if Chow had gone there.
Ultimately, Chow was hoping to score political points to salvage a re-election campaign that seemed assured months ago and is suddenly sagging.
Her predecessor, John Tory, beat her soundly in 2014, but after winning 62% of the vote and a third term in 2022, he abruptly resigned less than four months later after it emerged that he had a consensual extramarital affair with a staffer.
Chow won a snap election in which she was the sole candidate on the left, and was buoyed by the support of an outfit called Progress Toronto. With an election scheduled for next October, she suddenly finds herself governing a city that has woken up to its many problems, including public safety, a crumbling public transit system, and a lack of affordable housing.
More alarming for the mayor, Torontonians seem to have reached the audacious conclusion that the problems might have something to do with her leadership.
With talk of a Tory comeback, and centrist Councillor Brad Bradford openly campaigning, the road suddenly looks a lot bumpier for Chow.
It would appear that Toronto’s Jewish community has also had enough. After two years of harassment, intimidation, vandalism, and arson, Toronto’s Jewish community might have naively believed the Gaza ceasefire would bring it peace.
At my own synagogue, which is one of the city’s oldest and has been in operation since 1914, High Holiday services are usually held in the main synagogue building, with overflow at the nearby Jewish Community Centre. This year, there was no service in the main building, presumably to focus the large security presence at a single location.
In addition to being warned of “heightened security,” congregants were told that there would be no Yom Kippur food drive to support a local charity this year, and that they should instead donate cash. Think about that for a moment: when Toronto Jews want to commemorate their holiest day of the year by donating non-perishable goods to a non-Jewish charity, they now have to consider the possibility of being blown up in a terror attack.
The week after Chow made her comments was a busy one for the city’s antisemites and Israel haters. On Tuesday, a Toronto synagogue was vandalized for the 10th time in 18 months.
The following day, a group at Toronto Metropolitan University called Students Supporting Israel held an event at which speakers from the IDF came to share their stories. The organizers had been refused a permit on campus, so they held the event off-campus and took steps to keep the location secret.
Nevertheless, they were hunted down by protestors organized by Students for Justice in Palestine, some of whom stormed the building, broke a glass door, and caused minor injuries to one of the IDF vets.
Five arrests were made, and the university offered a milquetoast statement. Given the light touch approach Canadian authorities tend to apply in such cases, it seems unlikely the perpetrators will face any consequences.
Welcome to Canada in 2025.
Advocacy group B’nai Brith has circulated a petition to the city’s integrity commissioner alleging that the mayor’s comments violated the city’s code of conduct for members of council. It remains to be seen whether that allegation will hold up. But hopefully the message will be received regardless: while Toronto has no foreign policy, it does have many serious problems, including rampant intimidation of the Jewish community. If the current mayor isn’t up to fixing these problems, voters should find someone else who will.
Ian Cooper is a Toronto-based lawyer.
