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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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Years of Ignored Antisemitism Led to Terror in Australia — and the Media Helped Normalize It
Mourners carry the casket of 10-year-old Matilda the youngest victim of a mass shooting at Australia’s Bondi Beach targeting an event for the Jewish festival of Hanukkah on Sunday, at Chevra Kadisha Memorial Hall, in Sydney, Australia, Dec. 18, 2025. Photo: REUTERS/Hollie Adams
Years of hatred and antisemitism that was swept aside or outright denied led to one of the most horrific attacks on the Jewish people in Australia.
The warning signs were unmistakable more than two years ago: chants of “gas the Jews” outside the Sydney Opera House days after October 7; “Jew die” graffiti scrawled outside a Jewish school; a synagogue firebombed; and a Jewish community that made clear, again and again, that it did not feel safe or protected.
A terrorist attack targeting the Jewish community should not be what it takes for the world to pay attention to the undeniable rise in antisemitism.
And yet, even now, it appears that many are still unwilling to acknowledge the attack was antisemitic.
Despite the terrorists specifically aiming at the crowd gathered at the Hanukkah event, there was initial reluctance to name the Jewish community as the target.
Rather, the attack was framed in vague terms as part of a broader act of violence and a public safety issue in Australia. This reluctance to call out antisemitism is not incidental, but part of the pattern that allowed it to foster unchecked for so long.
As the news coverage on the attack continued, outlets slowly started to shift the story away from the victims of the attack and towards the terrorists who carried it out.
While understanding the motive and background has a place in responsible reporting, many outlets instead crossed a dangerous line by subtly humanizing the perpetrators while sidelining the Jewish victims.
1/
How terrorists who murder Jews are quietly humanized in media coverage.
Not through praise – but through framing, emphasis, and omission.
Once you see it, you can’t unsee it. pic.twitter.com/nOuZM0ni7V
— HonestReporting (@HonestReporting) December 16, 2025
One headline in Newsweek focused on the attacker’s relationship with his family, quoting that his mother considered him a “good boy.” But what his mother thought of him before the attack should not have been headline news — the fact that he took part in mass murdering people at a Hanukkah event should have.
The pain and trauma of the victims’ families and survivors deserved the center of the story, rather than emotional character references for the terrorist.
The Irish Times similarly stressed the terrorists had no criminal background, omitting their ISIS-inspired ideology and once again framing them as ordinary, well-meaning people.
2/
Let’s start with this headline from @Newsweek:
“Mom of Bondi terror attack suspect says he was a ‘good boy’”Pause on that.
This is not context. It’s emotional laundering – shifting attention from victims to the feelings of the terrorist’s family. pic.twitter.com/vquSod2nM3
— HonestReporting (@HonestReporting) December 16, 2025
The BBC likewise whitewashed the crimes of the terrorists by refusing to call them terrorists at all. Instead, they were described merely as “gunmen,” a term so sanitized that readers would have no idea from the headline that they carried out a deadly attack on Jews.
3/
Humanization also shows up in language choices.“Terrorists” become gunmen. “Murder” becomes an incident. A mass-casualty attack on Jews becomes something that “happened at Bondi Beach.”
This @bbc headline doesn’t even tell readers that people were killed. pic.twitter.com/wPelNy8Aov
— HonestReporting (@HonestReporting) December 16, 2025
Meanwhile, Sky News shifted the focus from the Jewish victims to warn that Muslims in Australia may feel unsafe. This creates a moral inversion that recasts the aftermath of an antisemitic terror attack as a story about the potential discomfort of an entirely different community.
This inversion completes a familiar pattern where Jewish victims disappear, antisemitism becomes abstract, and the media moves on without ever confronting the hatred that made the attack possible.
Jews are massacred in an Islamist terror attack.@SkyNews’ response: bring on an imam to warn that Muslims may now feel unsafe.
Victims erased.
Violence inverted.
Sympathy redirected away from the dead. pic.twitter.com/K78sZtWbuX— HonestReporting (@HonestReporting) December 17, 2025
When explicit calls to murder Jews are dismissed as isolated incidents, when attacks on Jewish institutions are minimized, and when Jewish fear is treated as political exaggeration, violence becomes inevitable. A terrorist attack against Jews in Australia is the consequence of sustained denial, indifference, and moral failure. The minimization of antisemitic incidents and violence against the Jewish people in the media contributes to the vicious cycle.
Antisemitism does not begin with terror attacks. It begins when warning signs are ignored — and it will continue until institutions, leaders, and the media are willing to say clearly and unequivocally that Jews were targeted because they are Jews.
The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.
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Palestinian Terrorist Was Killed Throwing Grenades; PA Said He Was ‘Young Boy’ ‘Delivering a Package’
Illustrative: Palestinian demonstrators call for an end to clashes between Palestinian security forces and militants in Jenin, in the West Bank, Dec. 16, 2024. Photo: REUTERS/Raneen Sawafta
The Palestinian Authority (PA) continues its hypocrisy about terrorists who are killed trying to murder Jews.
The “successful” terrorists are coined heroic fighters, and the PA names schools, streets, and squares after them.
But if they are young terrorists and the PA wants the world to condemn Israel, they are repackaged as innocent victims.
Such was the case of 16-year-old Islamic Jihad terrorist Muhammad Iyad Abahreh, who was killed after throwing hand grenades at Israeli soldiers near Jenin.
Text on picture:
“Martyr Jihad fighter
Muhammad Iyad Abahreh
One of the Jihad fighters of the Al-Quds Brigades, Al-Yamun Brigade
Al-Quds Brigades – Military Media”
Islamic Jihad’s terror wing, the Al-Quds Brigades, openly lauded Abahreh as one of its fighters.
The group proudly described him as a “Jihad fighter,” declared that he died as a “Martyr,” and vowed to continue armed resistance:
Headline: “The Al-Quds Brigades accompany to his wedding Martyr Muhammad Abahreh from Jenin”
“The Al-Quds Brigades, the Islamic Jihad Movement in Palestine’s military wing, accompanied to his wedding [i.e., a Martyr’s funeral is considered his wedding to the 72 Virgins in Paradise in Islam] Martyr Muhammad Iyad Abahreh …
In a statement on Sunday, [Dec. 14, 2025,] the brigades said that Abahreh is one of the Jihad fighters of the Al-Yamun Brigade and that he ascended to Heaven as a Martyr after he managed to engage with the occupation [i.e., Israeli] soldiers and threw several hand grenades at them during an invasion of the town of Silat Al-Harithiya yesterday evening, Saturday, Dec. 13, 2025.
The brigades emphasized that they will remain steadfast on the path of Jihad and resistance until liberation and return.”
[Safa, independent Palestinian news agency, Dec. 14, 2025]
Just one day later, the Palestinian Authority’s official daily, Al-Hayat Al-Jadida, published a fabricated version of the attack.
The “Jihad fighter” became a “young boy,” the grenade attack was erased, Islamic Jihad was not mentioned, and Israeli soldiers were accused of killing him while he was “delivering a package.”
Abahreh was painted as a “loved, diligent, seeker of knowledge” whose “death as a Martyr halted his aspirations” to graduate high school and help his parents.
Headline: “Young Muhammad Abahreh”
“Al-Yamun and Silat Al-Harithiya, west of Jenin, were partners in grief two nights ago, Saturday, [Dec. 13, 2025]. The two neighboring towns mourned 16-year-old boy Muhammad Iyad Muhammad Abahreh, who ascended to Heaven in Silat Al-Harithiya, and the occupation seized his body…
Family sources told Al-Hayat Al-Jadida that young Abahreh is the eldest [child] in the family and that he was looking forward to finishing his experimental matriculation exams, but the occupation’s bullets changed the course of his dreams.
They noted that Muhammad was on his motorcycle on his way to deliver a package in nearby Silat Al-Harithiya, but the occupation soldiers shot him with six bullets and seized his body…
Al-Yamun High School Principal Radwan Freihat described the loss experienced by the school with Muhammad’s death … who was loved, diligent, and a seeker of knowledge. He said that his death as a Martyr halted his aspirations to earn a high [school graduation] certificate to help his parents.”
[Official PA daily Al-Hayat Al-Jadida, Dec. 15, 2025]
The Palestinian Authority routinely rewrites terrorist attacks to demonize Israel and mislead international audiences and donors.
It did this just a month ago after terrorists from its own ruling party murdered Aharon Cohen and injured three others. The PA denies the October 7 atrocities. And it lies to world leaders about condemning terrorism and antisemitism.
Itamar Marcus is Palestinian Media Watch (PMW)’s Founder and Director. Ephraim D. Tepler is a contributor to Palestinian Media Watch. A version of this article originally appeared at PMW.
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Foreign Press Correspondents Honored Terrorists, Awarded Al Jazeera Cash Grant
The Al Jazeera Media Network logo is seen on its headquarters building in Doha, Qatar, June 8, 2017. Photo: REUTERS/Naseem Zeitoon
The Association and Club of Foreign Press Correspondents USA bestowed honors on some of America’s most distinguished journalists at its gala in Washington, D.C., including veteran NBC journalist Andrea Mitchell.
Yet the same organization also chose to bestow posthumous honors on individuals later exposed as active terrorists who had worked as “journalists” for Al Jazeera, the Qatari state broadcaster and a co-sponsor of the event.
The channel itself was even awarded the association’s so-called “press freedom grant.”
An elite American press organization is honoring Hamas terrorists. That’s according to an astonishing scoop by @HonestReporting’s @Gil_Hoffman on a December 4 gala held by the Association of Foreign Press Correspondents in the U.S., the self-described “leading independent… pic.twitter.com/itH7gxX4W9
— Amit Segal (@AmitSegal) December 8, 2025
According to a dinner attendee, the ceremony included a moment of silence for 10 Al Jazeera reporters and media workers killed in Gaza while “covering the Palestinian conflict with Israel,” with their photos displayed at a memorial table — a disturbing imitation of the empty hostage tables used to honor Israelis kidnapped by Hamas.
During the event, Fox News chief foreign correspondent Trey Yingst used his acceptance speech to eulogize Gazan reporters. He criticized Israel for restricting independent journalistic access to Gaza, while omitting a crucial fact: Hamas routinely threatens, censors, and kills journalists, while selectively protecting cooperative reporters who comply with its messaging.
Yingst praised the “fearless and tenacious Palestinian journalists in Gaza who don’t have the luxury to leave when reporting becomes too dangerous,” adding after applause: “May we not forget their sacrifice and contributions to our industry.”
Since these “contributions” went unnamed, they deserve documenting.
Western press have eaten up Al Jazeera *cough* Hamas propaganda over Anas al-Sharif’s elimination by the IDF.
Here’s a
— HonestReporting (@HonestReporting) August 12, 2025
By memorializing known terror operatives and rewarding a propaganda outlet, the Association and Club of Foreign Press Correspondents USA transformed what should have been a celebration of journalistic integrity into a moral failure.
This was not an act of solidarity with journalism — it was the elevation of militants masquerading as reporters.
The author is the Executive Director of HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.