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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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A war-weary Jerusalem marks Purim one day after the rest of the world, a tradition born in what is now Iran
(JTA) — JERUSALEM — As the sun rose over Jerusalem on Wednesday morning, sirens rang out, signaling yet another incoming missile attack from Iran.
This time, it coincided with the morning of Shushan Purim, as thousands of Israelis gathered — despite a prohibition on public gatherings — to read the Megillah and fulfill the mitzvah of hosting a reading after sunrise on the day of Purim.
Purim in Jerusalem, known as Shushan Purim, takes place a day later than in the rest of the world due to its status as a walled city during the time of the holiday’s story, when the Jews in Shushan, also a walled city located in what is now Susa, Iran, fought for their survival a day longer than Jews elsewhere in the kingdom.
Emergency regulations imposed by Home Front Command ban large gatherings, even in shelters, but Israelis have eschewed the restrictions to continue their celebrations. Top rabbis in Israel encouraged Israelis to follow government guidelines but opined that Zoom readings do not fulfill the requirement under Jewish law to hear the Megillah read in a prayer quorum. On Tuesday, Israelis across the country celebrated Purim in bomb shelters and underground parking garages, many of which are rated to withstand bombs dropped from above.
Just a few hours after the air raid alert ended on Wednesday, Jerusalemites could be seen wandering the streets, some intoxicated and others wearing costumes — or both — to celebrate the public holiday.
Two yeshiva students from New Jersey said, while waiting to catch a light rail train into the city, that they “were not worried at all about the missiles. We check our phones and go to the shelter.”
In the haredi neighborhood of Mea Shearim, life continued largely as normal. Children wandered the streets wearing costumes, and families walked into synagogues for Shacharit services, with prayers echoing through the streets.
In more secular neighborhoods, friends gathered to drink and celebrate the holiday, with some describing a “waiting game” to get their drinking in before another missile is launched and they have to head back to the shelter.
An ultra-Orthodox man celebrates in the streets of Mea Shearim, holding wine in one hand and showing a thumbs up with the other. The official commandment from the Torah is to drink until one cannot tell the difference between “cursed is Haman” and “blessed is Mordecai.”
Amber, Maya and Vicky kept their family shop open on Jaffa Street despite the threat of missiles. You Need Coffee has been open at its current location since 2011, and Maya described how “during the last war our business took a really big hit, and it’s something we expected this time, but the community keeps showing up.”
Vicky added, “They need their coffee, and we know our customers, so there’s a sense of we’re all in this together. Plus, we have a shelter in the basement, so it’s safer here than anywhere else.”
This is the second full-scale war with Iran in the last nine months, but all of the workers in the shop said they were willing yet again to deal with the consequences for the “freedom of the Iranian people.”
A family wearing matching costumes waits to catch the light rail into the Jerusalem city center. Public transportation in Israel is operating at limited capacity due to the war. The light rail had been closed since the war’s start but reopened on Wednesday.
A child who lives in Beit Yisrael, a haredi neighborhood in central Jerusalem, poses for a photo to show off his IDF soldier costume.
Children walk down the streets of Mea Shearim with their parents as they shop for goodies to celebrate the holiday. Pashkevils, or public announcements, cover the walls and communicate rabbinical rulings and other public information.
A Beit Yisrael family poses for a photo showing off their Purim costumes.
A man wearing a bunny costume walks in the streets of Mea Shearim, where not everyone was in costume for the holiday. Still, Yiddish techno music could be heard echoing off the brick walls of the neighborhood from the parties taking place there.
On Etz Hayim Street, just outside the Jerusalem shuk, a young Israeli poses to show off his costume — one half Israeli soldier, the other half sporting a suit.
One of the commandments for the Purim holiday is to give tzedakah, or charity to the poor — matanot la’evyonim — which requires giving to at least two people in need on the holiday. A young boy waits on the street, asking passersby for donations.
The post A war-weary Jerusalem marks Purim one day after the rest of the world, a tradition born in what is now Iran appeared first on The Forward.
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Faith heals the Deepest Wounds, Soothes the Greatest Woes
Across centuries, the Jewish people have experienced collective trauma, from the ancient exiles to modern-day tragedies. Despite these painful occurrences, Jewish tradition is a real treasure trove of healing through religious practices and teachings of the Torah. The Torah shows people how to process and move beyond suffering, and how the Bible can be a source of resilience and hope, even when all seems lost.
One of the greatest Jewish principles of practice is the practice of remembrance. The Torah calls the Jewish people to recall past suffering, not to dwell in sorrow, but in order to take the moment to derive lessons and strength from their adversity. This is reflected in such rituals as Passover, which celebrates the Exodus from Egypt and the liberation of the Jewish people from slavery. Likewise, Tisha B’Av is a day of remembrance for the destruction of the First and Second Temples. These rituals are not reminders of sorrow but tools necessary for transmitting the lessons of history to future generations. Through the practice of remembrance, Jewish communities are reminded time and again of the strength they have shown over the ages and the necessity to cultivate hope for the future.
Aside from the remembering process, the Torah also provides organized practices designed to assist an individual in coping with loss and suffering. The mourning practices, like Shiva, the seven-day mourning period, and Yahrzeit, the yearly observance of a loved one’s death, are a supportive mechanism whereby both the individual and society can cope with their loss. The practices are social in nature, reinforcing the idea that healing is as much an individual process as it is a social one. The social aspect of the practices creates solidarity and provides mutual support so that everyone mourns together.
Prayer and fasting are of profound significance in the Jewish healing environment. Yom Kippur and Tisha B’Av are such special days for soul-searching, repentance, and spiritual rebirth. On such days, the individual and collective seek forgiveness, atonement, and healing. These are spiritual exercises aimed at cleansing the soul and reconciling with God, an indication of the faith that, irrespective of the intensity of the agony, a path to spiritual healing always exists.
Community lies at the core of healing trauma within Jewish life. At the center of healing is the idea of Klal Yisrael—the Jewish peoplehood. In times of adversity, Jewish communities unite through acts of interdependence, prayer, and shared ritual. The communal care creates a basis of resilience, reminding individuals that they are not isolated in their suffering. In fact, the community’s strength can become a healing force, repairing the damage of trauma.
Chaya Lerner’s book, Torah of Trauma, explores the spiritual and psychological aspects of healing in the Torah. In her book, Chaya addresses how scriptural lessons can guide individuals and communities through healing from trauma and transforming it into what makes them stronger. Chaya utilizes ancient Jewish sources and modern therapy methods to explain that the Torah offers healing tools. Chaya’s work emphasizes that healing from trauma is not merely an understanding of the past but also the transformation of that understanding into a path forward. The book explores how Jewish heritage offers hope, healing, and a way to heal the spirit after suffering.
In an age where trauma manifests in so many different disguises, affecting so many individuals and communities, the Jewish approach to healing with the Torah is a sage one. Chaya Lerner’s Torah of Trauma is a guide for those willing to discover how scripture can heal emotional and spiritual hurts. By immersion in the Torah, remembering past struggles, and participating in communal rituals, the Jewish faith traces a path to resilience, hope, and spiritual rebirth. Through these sacred rituals, individuals and communities can transform their pain into power, emerging from trauma not just as a whole but more resilient than ever before.
Essentially, Jewish heritage teaches the realization that collective trauma does not characterize the people, but rather completes them. By accepting the teachings of the Torah, individuals and communities can heal, not only for themselves, but for society as a whole as well. The teachings given within the Torah are an eternal reminder of redemption, a reminder that there is always space for renewal and development, even in the darkest of sufferings.
The post Faith heals the Deepest Wounds, Soothes the Greatest Woes appeared first on The Forward.
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Poland returns 91 Jewish objects to Greece, decades after they were stolen by the Nazis
(JTA) — A trove of sacred Jewish objects from Greece that was stolen by the Nazis and displaced for decades in Poland is finally heading back home.
Poland returned 91 religious and ceremonial artifacts to the Greek government at a ceremony in Warsaw on Wednesday. Among them were Torah scrolls, a Torah mantle and silver finials that adorned a scroll’s wooden rollers — fragments of a rich Greek Jewish heritage that was nearly wiped out.
This marks the first time Poland has repatriated cultural property held under its care that was illegally taken from another country.
The Nazis stole the objects from synagogues in Thessaloniki, a port city once known as the “Jerusalem of the Balkans.” Jews made up half of Thessaloniki’s residents in 1919. Some 59,000 Greek Jews, over 83% of the country’s Jewish population, were killed in the Holocaust.
These items were seized by the Einsatzstab Reichsleiter Rosenberg, a Nazi agency dedicated to looting Jewish valuables, as it plundered homes, synagogues, cemeteries and cultural institutions across Greece in 1941. The objects were transferred to Nazi depots in southwestern Poland and rediscovered at a castle in Bożków after the war. In 1951, the Polish Ministry of Culture moved them to the Jewish Historical Institute in Warsaw, where they remained until now.
This return follows years of advocacy and provenance research. The Greek government formally requested the collection’s restitution in 2024, and the World Jewish Restitution Organization coordinated with Greek and Polish authorities to facilitate it. Now, the objects are headed to the Jewish Museum of Greece in Athens.
About 5,000 Jews live in Greece today.
Poland is the only member of the European Union with no comprehensive legislation to address the restitution of property seized by the Nazis and later nationalized by the communist regime. Since the country became a democracy in 1989, several bills have been proposed to return private property to Holocaust survivors and their descendants, but none became law.
In 2021, Poland passed a law that prevented people who sought to claim property from challenging administrative decisions more than 30 years old. This time limit made it virtually impossible for former owners, including Holocaust survivors and their descendants, to recover properties that were appropriated during the communist era.
In a statement, WRJO president Gideon Taylor and COO Mark Weitzman said the return of the Greek Jewish collection represented a milestone in international cooperation for Holocaust-era restitution.
“While Poland has broader restitution issues to address, we hope this historic act marks the beginning of a consistent, systematic approach to historical justice,” they said.
The post Poland returns 91 Jewish objects to Greece, decades after they were stolen by the Nazis appeared first on The Forward.