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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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Alabama is forcing the Ten Commandments into my children’s classrooms. As a rabbi, I’m horrified
As of this month, many public schools in Alabama are required to display the Ten Commandments in classrooms, libraries, lunchrooms and all other common spaces.
Proponents of Senate Bill 99, signed into law by Gov. Kay Iven on April 10, have claimed that these enforced displays are historical, educational and religiously neutral. As an Alabama rabbi — and a father of two future public school students — I see that defense as not just incorrect, but also deceitful, especially because the version of the Ten Commandments that the law endorses is, itself, not historically accurate.
The Ten Commandments are a sacred Jewish text. They were given to the Jewish people, written in Hebrew, and rooted in a specifically Jewish story of liberation and covenant. This law takes that text, strips it of its context, and reshapes it using a Christian lens.
The version of the Ten Commandments that will be displayed in our schools omits the text’s defining opening: “I am the Lord your God, who brought you out of Egypt, out of the land of slavery.” That line grounds the commandments in the narrative of the Jewish people. To remove it is not preservation. It is distortion.
Claims of the law’s neutrality are a strategy meant to give legal and cultural cover to the fact that it clearly privileges one particular Christian worldview in public institutions meant to serve everyone.
This does not reflect the beliefs or desires of all Christians. Many Christian leaders and communities understand that faith loses its integrity when it is elevated or enforced by the state. Many of my Alabama colleagues, across religious traditions, are dismayed by this as well. They understand that this law is an ideological move that uses religion to draw boundaries around belonging, and object to that weaponization of something sacred.
In opposing Senate Bill 99, the American Historical Association made the point plainly, arguing that this law presents a distorted version of American religious history under the label of “historical truth.”
The text of the bill describes the Ten Commandments as “a key part of the Judeo-Christian religious and moral tradition” — a claim that does not reflect the consensus of historians, legal scholars or the judiciary.
The idea of a unified “Judeo-Christian” tradition is itself a misleading modern construction. It did not come from Judaism. It emerged within a Christian framework and recasts Judaism as a precursor to Christianity rather than a living, evolving tradition in its own right.
Alabama students, like students across this country, deserve an education that is accurate, intellectually honest and grounded in real scholarship. Public schools should be places where students can form identities they are proud of, develop the values that guide them, and begin to understand how they can contribute to the world around them. They should be places where students feel safe, nurtured and valued.
This law erodes those principles. Instead, it replaces real education with ideology, narrowing what students are allowed to learn and how they are taught to understand their country. It denies students exposure to the full diversity of American religious life, replacing that rich landscape with a single, imposed narrative.
When a classroom wall presents one version of a religious text as if it were foundational to civic life, it sends a message. Some students will see themselves reflected in the text. Others, like my children, will learn that they are on the outside. Muslims, Hindus, Buddhists, Sikhs, atheists and others will be further pushed to the margins.
This law is about power: who has it, and who does not. It is about whose story is told, and whose is reshaped to fit someone else’s narrative. And it teaches something dangerous: not to think, but to conform. To get in line. To stay silent. To learn, early on, where you stand.
The United States cannot be great when it elevates one religion over others. Our students deserve better than indoctrination presented as education. They deserve a system that reflects that we are a nation shaped not by one tradition, but by many.
As a rabbi, I am angry that a sacred text from my tradition is being taken, altered and presented as something it is not.
As a Jew, I am furious that our story is being stripped of its context and repurposed in a way that marginalizes others.
And as a father of two children who will be in public school, I am deeply uneasy about what this signals to them about who belongs — and who does not.
That is why we must speak out and do everything we can to oppose and repeal this law. We must work to protect a better kind of American society — one that ensures our public institutions remain open to all, and that our children grow up in a world that reflects the dignity of difference, not the demand for conformity.
The post Alabama is forcing the Ten Commandments into my children’s classrooms. As a rabbi, I’m horrified appeared first on The Forward.
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Some Tankers Cross Strait of Hormuz Before Shots Fired, Ship-Tracking Data Shows
A satellite image shows the ship movement at the Strait of Hormuz on April 17, 2026, in Space. EUROPEAN UNION/COPERNICUS SENTINEL-2/Handout via REUTERS
More than a dozen tankers, including three sanctioned vessels, passed through the Strait of Hormuz after a 50-day blockade was lifted on Friday, shipping data showed, before Iran reimposed restrictions on Saturday and fired at some vessels.
Reopening the strait is key for Gulf producers to resume full oil and gas supplies to the world, and end what the International Energy Agency has called the worst-ever supply disruption.
US President Donald Trump said on Friday Iran had agreed to open the strait, while Iranian officials said they wanted the US to fully lift its blockade of Iranian tankers.
Western shipping companies cautiously welcomed the announcements but said more clarity was needed, including on the presence of sea mines, before their vessels could transit.
IRAN RESUMES RESTRICTIONS
The ships that passed through the strait on Friday and Saturday via Iranian waters south of Larak island were mainly older, non-Western-owned vessels and included four sanctioned ships, according to ship-tracking data.
Iran arranged passage for a limited number of oil tankers and commercial ships following prior agreements in negotiations, a spokesperson for Iran’s Revolutionary Guards said.
Other ships have been seen approaching the strait and turning back as Iran said it would maintain strict controls as long as the US continues its blockade of Iranian ports.
The UK Navy reported on Saturday that Iranian gunboats fired at some ships attempting to cross the strait.
Some merchant vessels received radio messages from Iran’s navy saying the strait was shut again and that no ships were allowed to pass, shipping sources said on Saturday.
Ship-tracking data showed five vessels loaded with liquefied natural gas from Ras Laffan in Qatar approaching the strait on Saturday morning.
No LNG cargoes have transited the waterway since the US-Israeli war with Iran began on February 28.
Hundreds of ships have been stuck in the Gulf since the conflict started and Tehran closed the strait, forcing Gulf oil and gas producers to sharply cut production.
Top producers such as Saudi Arabia, the UAE, Iraq and Kuwait say they need steady tanker flows and unrestricted passage through the strait to resume normal export operations.
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Trump Greenlights Russian Oil to Ease Strain on Global Markets After War with Iran
US Treasury Secretary Scott Bessent in Washington, DC, US, March 27, 2026. Photo: REUTERS/Jonathan Ernst
i24 News – The Trump administration has authorized a 30-day emergency waiver allowing the maritime purchase of Russian oil, reversing a hardline stance in an effort to stabilize skyrocketing global energy prices.
The Treasury Department announced Friday that the license for crude and petroleum products will remain in effect until May 16, 2026, responding to intense pressure from international partners struggling with the fallout of the war with Iran.
This policy pivot comes as a surprise after Treasury Secretary Scott Bessent suggested earlier this week that no further exemptions would be granted:
“As negotiations with Iran accelerate, the administration seeks to ensure oil availability for those who need it most. We must prevent a total price collapse for consumers while the geopolitical situation remains volatile.”
Ensuring global oil availability is paramount for the US as over 80 energy facilities in the Middle East have been damaged by recent war with Iran. With the November midterm elections approaching, record-high fuel prices at the pump remain a primary vulnerability for the Republican party. By allowing Russian oil back into the maritime flow, the administration hopes to neutralize “pain at the pump” before voters head to the polls.