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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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The real Jewish story of Ceuta, Spain’s migrant-magnet neighbor to Morocco
For all of us who don’t know much about geography, international political crises are always welcome. Since the start of Trump 2.0, we have been discovering places we never knew existed, but now present existential threats. From straits — think Hormuz and Bab al-Mandab — to islands — whether Greenland or Heard and McDonald — we now have, along with higher gas and food prices, a better appreciation of our world.
Late last week, yet another obscure part of the globe was suddenly brought, this time without our president’s assistance, to the attention of western media: Ceuta. A city of approximately 83,000 inhabitants, Ceuta is ensconced on a peninsula which, though attached to the Moroccan coastline, is nevertheless under Spanish rule, even while it enjoys a significant amount of autonomy.
As we now know, Ceuta was also the magnet that, starting on July 30, drew about 72,000 young Moroccans who sought, mostly by swimming, to reach its beaches and, from there, perhaps reach Europe. That nearly 100 young men and women drowned in the effort — one that moreover proved naught for those who reached Ceuta as nearly all of them were obliged to return to Morocco — adds a heartrending chapter to the complex history of a city where tragedy has long mixed with comity.
Founded two millennia earlier by the Phoenicians, Ceuta was successively ruled by the Romans, Ottomans, Portuguese and Spaniards. In 1492, when the kingdom expelled its Jewish population, a few thousand crossed the Strait of Gibraltar to Ceuta, where they managed to avoid the bloody reach of the Inquisition. Yet they were not the first Jews to make their home on this tip of North Africa; as early as the 11th century, the Spanish-Jewish poet Abraham Ibn Ezra refers to the Jews of Ceuta in one of his poems. For the next few centuries, the small community lived in relative peace alongside its Christian and Muslim neighbors, a continuation, argues the historian Veronica Viviana Reyes, of the medieval “al-Andalus,” that brilliant and brief moment of cultural convergence between the three “peoples of the Book.”
Come the mid-20th century, the steadily dwindling Jewish community received reinforcements with the arrival of a few hundred Sephardic Jews who left their native Morocco in the wake of its independence from France. Earlier that century, several hundred Indians, mostly Sindhi, who were subjects under the British Raj also arrived in Ceuta, drawn by the city’s busy trading and commercial opportunities. Though the statistics are approximate — Spain does not require citizens to list their religion — about 58% of Ceuta’s population is Christian, 40% is Muslim, and the remaining couple of percentage points comprise its Jewish and Hindi communities. [ As a result, this ancient city attached by a thread of rock and soil to North Africa has accomplished a remarkable feat: the braiding of four distinct faith communities into what the locals call convivencia, or peaceful coexistence.
Yet, as last week’s event revealed, convivencia is a fragile thing. The influx of Moroccan youths on the beaches and streets of Ceuta, though over as quickly as it began, has become the gift that does not stop giving for the extreme-right media and politicians in countries bordering Spain. Marine Le Pen, leader of France’s ethno-nationalist party the National Rally, demanded that the French government “reinforce its border controls.”
Not to be outdone, her second-in-command, Jordan Bardella, warned that these “invaders will soon be on our streets.” Going a step further, the extreme-right prime minister of Italy, Giorgia Meloni, called for Spain’s suspension from the Schengen Accord—the guarantee of free movement of citizens across the borders of European Union nations — and resurrected immigration controls for Spanish citizens, although Spain does not share a border with Italy. (This geographical fact did not deter Mette Fredricksen, the prime minister of distant Denmark, from voicing her support for Meloni.)
Inevitably, the old chestnut of a Jewish conspiracy has also been resurrected. Public figures, ranging from antisemitic fantasist Candace Owens, through the former director of Human Rights Watch, Kenneth Roth, to the Spanish actor Javier Bardem, have posted or reposted wink-wink, nudge-nudge claims that Israel orchestrated the mad rush of Moroccans towards Ceuta. The reason cited for this nefarious feat is Benjamin Netanyahu’s desire to embarrass the Spanish prime minister, Pedro Sanchez, who has been one of the harshest European critics of the war in Gaza and a proponent of a more liberal immigration policy than his European peers. The Moroccan government’s irritation over Spain’s support of Algerian claims to the western Sahara makes this baseless claim seem more reasonable.
The political and rhetorical theatrics have little to do with reality. Europe is not being overrun by what Marion Maréchal, a politician to the right of her aunt Marine Le Pen, described as a “veritable invasion” by “hordes of young Moroccans.” Or, for that matter, what her Spanish homologue, Santiago Abascal, the leader of the extreme-right party Vox, insisted was “an act of war” against Spain and, by extension, Europe.
This frenzied response deliberately ignores the fact that not a single Moroccan migrant entered Spain — a strait, after all, runs between Spain and Ceuta — and have nearly all been returned by Spanish soldiers and police to Morocco. Tellingly, residents of Ceuta have also used the word “invasion,” but with greater nuance. As a journalist for Le Monde reported, none of the locals she interviewed described the Moroccans as enemies. Though frightened by the sudden and massive influx, they also understood the migrants were not seeking “to rob them,” but instead to find a better future. Besides, as one Ceutan, Rachel Gomes, observed, she has Muslim in-laws. “This does not make for problems. Four cultures exist here — Hindu, Jewish, Muslim, and Christian — that live together remarkably well.” If only a similar convivencia reigned among the members of the European Union.
The post The real Jewish story of Ceuta, Spain’s migrant-magnet neighbor to Morocco appeared first on The Forward.
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Ad for Republican Colorado governor candidate depicts Jewish opponent with horns
An attack ad on the Jewish Democratic candidate for governor of Colorado has depicted him with red horns, drawing condemnation from the state Democratic party — and the apparent approval of the Republican nominee.
Invoking an ancient antisemitic canard that Jews have horns, the ad, created in support of Republican nominee Victor Marx and circulating on various social media platforms, called the Democratic nominee and Colorado’s current Attorney General Phil Weiser “the next threat to Colorado.”
The Colorado Democratic Party said on Facebook that the graphic was “antisemitic and disgusting” and called on Marx to disavow it.
Instead, Marx engaged with a post on X accompanied by the image, calling on Republicans to stop attacking each other, “unite, stay focused, and win.”
Throughout his campaign, controversy has followed Marx, a minister and author who some have categorized as a Christian fundamentalist. Others have called him a fabulist. On the campaign trail, Marx has claimed to be the first American into Gaza during the war with Israel, boasted about performing exorcisms by phone and said his stepfather forced him to kill a man at the age of 7.
A fellow Republican party member also formally accused him of accepting unlimited campaign contributions through his online merchandise store.
The Marx campaign did not respond to an inquiry by the Forward.
Weiser, who attends a Conservative synagogue in Denver, defeated U.S. Sen. Michael Bennet for the Democratic nomination in July. He also did not respond to an inquiry.
Polls show Weiser with a sizable lead over Marx. The Colorado governor’s seat has been held by a Democrat since 2008, and term-limited incumbent Gov. Jared Polis is also Jewish.
The post Ad for Republican Colorado governor candidate depicts Jewish opponent with horns appeared first on The Forward.
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A retired judge needed four Torahs rescued from Indiana. So he called his rabbi. And his dentist.
Early on a Sunday morning in July a dentist pointed his black Toyota Sequoia south out of the Chicago suburbs, a rented box trailer swaying behind the hitch. In Champaign, Illinois, a rabbi who had spent the night at his mother’s house pulled onto the highway heading east. Their rendezvous: a century-old synagogue in Terre Haute, Indiana. Their mission: get the Torahs out.
Before the day was over, the operation would involve four Torah scrolls, a pair of towering brass menorahs, more than 100 boxes of books, one electric piano and — because even sacred missions deserve a victory lap — a round of golf.
The orders came from Arizona, where a 79-year-old retired judge, recovering from surgery, was running the operation by phone.
That would be Jerry Orbach, who splits his time between Scottsdale and Chicago and has made a second career of rescuing the remnants of shuls from across America. The walls of his Illinois shul, Northbrook Community Synagogue — where he serves as executive vice president — glow with stained glass he has salvaged from seven shuttered congregations across the Midwest.
So when Michael Brown, executive director of the Indiana Jewish Historical Society, called to say that the United Hebrew Congregation in Terre Haute had sold its building — and needed homes for nearly everything inside — Orbach knew exactly what to do, even if he couldn’t do it himself.
“We can’t get rid of Torahs,” he said. “We have to preserve them.”
He couldn’t make the trip. But he had a crew.
The crew
The whole operation was an in-house affair: all four men belong to Northbrook Community Synagogue. Orbach’s regulars are Dr. Michael Farr, 49, a dentist, and Farr’s best friend Jordan Ripstein, the shul’s gabbai and a violin maker who studied theoretical physics in college. The two have history. They once drove through the night to Kingston, New York, to rescue stained glass from a closing synagogue, smoking cigars and talking about life and music the whole way.
Last September, they hauled back 14 crates from the shuttered Beth Achim synagogue in Southfield, Michigan — towering 13-foot stained glass panels that now wait in the Northbrook basement for their next home.
But Ripstein was out of town. So Orbach turned to his bullpen and pulled out a rabbi.
Aaron Braun, 43, has led Northbrook Community Synagogue since it was founded in 2012 as a merger of three congregations — which makes him, in a sense, a professional preserver of shuls that might otherwise have disappeared. He is also long accustomed to his congregant’s obsession. “Everybody goes along with my meshugas,” Orbach said, using the Yiddish word for craziness. “I’m an old man, so they indulge me.”
Braun didn’t need convincing. “The chance to give Torahs a new home and see them brought back to life and used is one of the holiest endeavors we can pursue,” he said.
The extraction
The congregation they came to help is the oldest in Indiana still in continuous operation. This year, the United Hebrew Congregation celebrated 175 years in Terre Haute — a city whose Jewish community peaked at more than 1,000 people in the late 1940s, when Jewish families owned some 45 local businesses, including three of the four downtown department stores.
Today, the city’s Jewish population is estimated at just under 100. The Reform congregation, down to 45 member families, sold its building in mid-July. “We had to sell in order to continue operating,” said Scott Skillman, its immediate past president. The new owners have said they plan to use the building, known for its cavernous sanctuary and sweeping stained glass windows, as a wedding venue.
It is a familiar story across the state. Wendy Soltz, a Ball State University historian who led the Indiana Synagogue Mapping Project, has documented 66 purpose-built synagogues in Indiana dating back to 1865. Twenty-four have already been demolished.
The Terre Haute building held what the congregation couldn’t take to its smaller new locale. Nearly all of it was in the basement, down seven steps from a side door: four steps, a 90-degree turn, then three more. Farr worked a two-wheel dolly up and down that turn for more than two hours, stacking some 150 boxes of books in the trailer alongside two podiums and a pair of cast-brass menorahs, each more than six feet tall and about 150 pounds.
“We were a pretty sweaty mess,” Braun said.
When the crew opened the ark they found the four scrolls bare. In the tumult of moving out, the mantles had come off; someone had fashioned ropes of felt around them instead. “Not even gartelekh,” Braun said, referring to the sashes that traditionally bind a Torah.

The scrolls, the crew decided, would not ride in the trailer with the boxes. Braun laid them down across the back seat of his SUV and covered them with tallitot, the prayer shawls tucked around them so they couldn’t shift — “even, God forbid, in an accident,” he said. A Torah is the rare object Jews treat like a person: You stand when it passes. You kiss it as it goes by. If one is dropped, the whole congregation fasts. Braun drove north with four of them sleeping in his back seat.
Braun, examining what he could, was impressed by their condition: the calligraphy of at least three of the four looked to be in fairly good shape. The fourth scroll is a mystery: written in a slanted, old-fashioned hand, its lines ragged. “It’s not even full justified,” he said. “It’s wild.”
The getaway
The trailer was full. The Torahs were secure. And one more passenger had joined the convoy: a Yamaha Clavinova electric piano the Terre Haute congregation no longer needed, destined for Braun’s mother’s house in Champaign.
Which is how the getaway came to include a detour. The two men dropped off the piano, then headed to the golf course where Braun grew up playing and got in 18 holes.
“Dr. Farr played some of the best golf I’ve ever seen him play,” the rabbi said.
Farr, a beginner, doesn’t dispute it. “I had a good round. I definitely played better than I normally play,” he said. “Probably by virtue of the fact that we saved four Torahs that day.”
At some point a crop duster buzzed low over their cars — “a not unusual reality of downstate Illinois,” Braun said. Nobody flinched. It had been that kind of day.
Farr rolled back into the Northbrook parking lot around 10 p.m., where the synagogue’s president, Ben Resnick, was waiting in the dark to help unload. The boxes went into the social hall, stacked against the wall. The next morning, Farr was back at his dental practice — “the yank and pull,” as he calls it.
The social hall, though, is only a way station. The items aren’t necessarily staying at Northbrook; the congregation is a holding ground while Orbach hunts for their next home. He plans to call Nik Jakobs, the Jewish farmer building a synagogue in a two-acre cornfield in rural Illinois, about two hours west, to see if he wants any of the pieces for his sanctuary. He also will contact the Jewish Community Legacy Project, an Atlanta-based nonprofit that helps find homes for sacred objects from downsizing and closing congregations.
The sorting has already begun. Brown hopes any documents or photographs in the boxes will go to the Indiana Jewish Historical Society’s archives. A scribe is coming to examine the four scrolls and determine what repairs they need before they can be read from again.
Brown, who set the whole thing in motion with a phone call, sees it as “one of the few small happy threads from a sad story of Jewish decline in the crossroads of America.” He calls Orbach “an unsung Midwestern Jewish hero.”
Back in Terre Haute, the congregation is still holding services every Friday night, in space rented from a Unitarian church — a sanctuary with no crosses and, as it happens, a few Stars of David. “It’s not a closing,” Skillman said. “It’s just a shrinking of our footprint.”
And in Northbrook, four Torahs rest in the social hall. Orbach turns 80 in September. His crew is waiting for the next call.
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