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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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What it means for Jews when Trump administration officials misquote the Bible
(JTA) — The Bible is back in the news.
In a Pentagon prayer service on April 15, Secretary of War Pete Hegseth quoted what was seemingly meant to be a verse from the ancient Hebrew prophet Ezekiel, but was in fact from the Gospel of Tarantino, as Stephen Colbert quipped.
In response, Sean Parnell, chief Pentagon spokesman, released a statement on X noting that the homage to the auteur’s 1994 film “Pulp Fiction” was intentional. Hegseth had “shared a custom prayer … which was obviously inspired by dialogue in ‘Pulp Fiction.’”
Two days later, the New York Times suggested that President Donald Trump was likely participating in “America Reads the Bible,” a marathon reading of scripture to take place in Washington, D.C.’s Museum of the Bible, as a means to repair his relationship with Catholics after he publicly sparred with the pope over the Iran war and deleted a tweet depicting himself as Jesus Christ.
“President Trump has a complicated relationship with the Bible,” the paper noted. “He has often called it his favorite book, has posed with it for photographers outside a church and has sold his own edition for $60. But he has also struggled to name a favorite passage or even pick a favorite Testament between the two.”
At the event on April 21, Trump read a passage from 2 Chronicles, in which God promises to heal the land if its people “humble themselves, pray, and seek My favor.”
As a scholar specializing in the influence of the Hebrew Bible and Jewish ideas on American history, I can attest that the habit of American leaders citing chapter and verse (accurate or not) is as old as the United States itself. In fact, it dates back to the Pilgrims. It has been a powerful and effective means of cultivating covenantal community. Americans who cited scripture have forged a country unique in world history in the religious freedom it has offered to all its citizens, not the least of which to us Jews, the original biblically bound people.
The America ethos of fighting for freedom and liberty, drawn from the story of the Children of Israel millennia ago, to this day shapes how the United States operates both internally and on the world stage.
Reflecting on the harsh and uncertain early days of Plymouth Colony, William Bradford, who signed the Mayflower Compact and would serve as the territory’s governor for roughly three decades, paraphrased the Exodus story and Moses’ final speech in Deuteronomy. Arriving in the New World, he said, his fellow Pilgrims could only see:
a hideous and desolate wilderness, full of wild beasts and wild men — and what multitudes there might be of them they knew not. Neither could they, as it were, go up to the top of Pisgah to view from this wilderness a more goodly country to feed their hopes; for which way soever they turned their eyes (save upward to the heavens) they could have little solace or content in respect of any outward objects.
In the first half of this excerpt from his journal, Bradford was alluding to the Israelites’ escape from Egypt into the rough wilderness in which they would wander for 40 years. And then he referenced the mountaintop on the precipice of the Promised Land, Pisgah, on which Moses stood as his people were about to complete their arduous journey as described in the last of the Five Books of Moses. To Bradford, scripture was a source of strength and solace during communally challenging times.
Ten years later, the Puritan leader John Winthrop would describe in similarly Hebraic lens how if Massachusetts Bay Colony’s residents will do right in the eyes of the Lord, “We shall find that the God of Israel is among us, when 10 of us shall be able to resist a thousand of our enemies… For we must consider that we shall be as a city upon a hill. The eyes of all people are upon us.”
Winthrop was misquoting of Leviticus 26:8: “Five of you shall give chase to a hundred, and a hundred of you shall give chase to ten thousand.” However, the details were less important than the sense of divine mission that was powering the Pilgrims’ and the Puritan’s project.
Later, the American Founders also possessed a powerful attachment to the Bible, even if the details were sometimes hazy.
John Adams, in 1776, after hearing a sermon paralleling the Patriot cause to Israel’s fight against Pharaoh’s tyranny, ruminated: “Is it not a Saying of Moses, ‘who am I, that I should go in and out before this great People’?” It actually was not a saying of Moses. Adams was conflating Moses’ “Who am I that I should go to Pharaoh…” speech in Exodus 3:11 with a a request by a much later Jewish ruler, King Solomon that God “give me now wisdom and knowledge to go out and come in before this people” (2 Chronicles 1:10).
A year earlier, the equally-enamored-with-
Abraham Lincoln, perhaps the country’s most biblically literate president ever, often weaved scripture into his seminal addresses, from “four score and seven years ago,” which was likely borrowed from a rabbinic sermon citing a verse in Psalms, to a purposeful paraphrase of Exodus 19:5 when, on Feb. 21, 1861, he referred to Americans writ large as the Lord’s “almost chosen people.”
It hasn’t only been political leaders, of course, who rephrase the Word in an effort to encourage Americans to live up to their highest ideals. Martin Luther King Jr. made reference to that same mountaintop as Bradford in the civil rights leader’s final speech on April 3, 1968 in Memphis. He rousingly reassured his audience that:
We’ve got some difficult days ahead. But it really doesn’t matter with me now, because I’ve been to the mountaintop… I just want to do God’s will. And He’s allowed me to go up to the mountain. And I’ve looked over. And I’ve seen the Promised Land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land!
Citing (and mis-citing) scripture, then, is a longstanding and worthy American tradition.
Some Jews might feel excluded by Jesus and New Testament texts being invoked in a nonsectarian context by public leaders, and verses can be abused as opposed to correctly interpreted. Nevertheless, the phenomenon of looking to the Bible to shape the soul of America has served a largely positive purpose. A religious civic space is full of happier, healthier people who give more charity, have more children and forge a strong sense of community.
Regardless of one’s party or views on those in power today, then, quoting the Bible in the American public sphere has long characterized the American experiment. On the whole, it has been largely good for the American collective character and good for the Jews. Occasionally, these quotes might be imperfect, but they reflect a worthy national will: the desire to see through the long march towards liberty and justice for all.
This article originally appeared on JTA.org.
The post What it means for Jews when Trump administration officials misquote the Bible appeared first on The Forward.
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Recalling Yeva Beider, devoted widow of the writer Chaim Beider
דעם 6טן אַפּריל 2026 האָט אין ברוקלין זיך געפֿעלט יעוואַ לאָזדערניק־ביידער ע״ה אין עלטער פון 103 יאָר. זי איז צום בעסטן באַקאַנט אין דער ייִדיש־וועלט צוליב איר אָפּגעגעבנקייט איר מאַן, דעם פֿאַרשטאָבענעם שרײַבער, פּאָעט און רעדאַקטאָר חיים ביידער ע״ה.
זינט חיים ביידערס טויט אין 2003 האָט יעוואַ זיך אָפּגעגעבן מיטן אָפּהיטן זײַן ליטעראַרישע ירושה ובפֿרט דורכן העלפֿן אַרויסגעבן זײַן לעקסיקאָן פֿון די ייִדישע שרײַבער אין ראַטן־פֿאַרבאַנד, רעדאַקטירט דורך באָריס סאַנדלער און גענאַדי עסטרײַך. דאָס איז אַ וויכטיקער צוגאָב צום לעקסיקאָן פֿון דער מאָדערנער ייִדישער ליטעראַטור, ווי אויך צו דער ייִדישער ליטעראַטור־פֿאָרשונג בכלל.
דורך אַ שמועס מיט איר זון מאַטוויי, האָב איך זיך דערוווּסט אַז יעוואַ לאָזדערניק איז געבוירן געוואָרן דעם 27סטן נאָוועמבער 1922 אין שטעטל וואָלאָטשיסק, מערבֿ־אוקראַיִנע, בײַם טײַך זברוטש. די צווייטע וועלט־מלחמה האָט זי איבערגעלעבט אין סאָוועטן־רוסלאַנד און אין 1946 האָט זי חתונה געהאַט מיט באָריס שפּיזעלן, וואָס האָט אָנגעפֿירט מיטן פֿינאַנץ־אָפּטייל פון דער גובערניע. יעווא האָט אויך געאַרבעט פֿאַר דער גובערניע־רעגירונג.
מיט שפּיזעלן האָט זי געהאַט צוויי זין, מאַטוויי און איסאַק. ווען דער עלטערער זון, מאַטוויי, איז געבוירן געוואָרן, האָבן זיי אים געמאַכט א ברית און צוליב דעם האָבן ביידע אָנגעוווירן זייערע שטעלעס בײַ דער רעגירונג, ווי אויך זייער דירה. שפּיזעל האָט באַקומען אַרבעט אין אַ כעמיע־פֿאַבריק. אין 1967 איז ער אַוועק אין דער אייביקייט.
אין 1978 האָט יעוואַ חתונה געהאַט מיט חיים ביידערן און צוזאַמען האָבן זיי עולה געווען אין 1996. אין זעלביקן יאָר האָט דער פֿאָרווערטס, צוזאַמען מיט אַנדערע ייִדישע קולטור־אָרגאַניזאַציעס, זיי פֿאַרבעטן אין די פֿאַראייניקטע שטאַטן, וווּ זיי זענען פֿאַרבליבן. ביידער איז נפֿטר געוואָרן אין 2003.
ווען איך האָב באַקומען די טרויעריקע בשׂורה וועגן יעוואַס פּטירה זענען מיר געקומען אויפֿן געדאַנק אַ שלל מיט זכרונות. ווער ס׳האָט זיך פֿאַרנומען מיט ייִדיש אין שטאָט ניו־יאָרק במשך פֿון די שפּעט-90ער יאָרן פֿונעם פֿאָריקן יאָרהונדערט, און פֿרי אינעם ערשטן יאָרצענדלינג פֿון איצטיקן, וועט קיין מאָל ניט פֿאַרגעסן אָט דאָס פּאָרל ייִדישיסטן: ער, דער שטילער, מיט די דיקע ברילן און ווײַסע, צעשויבערטע האָר פֿון אַן אינטעלעקטואַל, און זי — לעבעדיק און באַרעדעוודיק.
זי איז געווען זײַן פֿאַרוואַלטערין, קען מען זאָגן. זי האָט געפֿירט זײַן צײַטפּלאַן, געזען אַז ער זאָל עסן באַצײַטנס, און תּמיד מיטגעבראַכט עסן מיט זיך, כּדי מיטצוטיילן מיט אַנדערע: אַ פּעקל זיסוואַרג, אַ האָניק־לעקעך אַ מתּנה אויף יום־טובֿ, צי וואָס ניט איז. זי האָט געקענט גוט דערציילן אַ וויץ און האָט שיין געפֿירט די שטוב.
איין מאָל בין איך געווען בײַ איר אָפּנעמען אַרכיוואַלע מאַטעריאַלן ביידערס און זי האָט מיר דערלאַנגט אַ פּסחדיקן מיטאָג: איר ספּעציעלן טאָג־טעגלעכן סאַלאַט ֹ— שאַלאַטן מיט פּאָמידאָר און אוגערקע, אַלץ צעשניטן און באַשאָטן מיט אַ ביסל זאַלץ און געלאָזן שטיין אַ נאַכט אין פֿרידזשידעיר. ס׳האָט געהאַט אַזאַ פֿרישן טעם… און דערצו איבערגעוואַרעמטע כרעמזלעך אַליין־געמאַכטע.
אַז איך האָב דאָס איין מאָל דערציילט דער ייִדיש־ליטעראַטור־פֿאָשערין שבֿע צוקער האָט זי מיר גלײַך איבערגעגעבן אייגענע זכרונות — וועגן יעוואַ ביידערס יויך. זי און דער היסטאָריקער דוד פֿישמאַן זענען ביידע געווען בײַ די ביידערס אין שטוב אין מאָסקווע, האָט יעוואַ זיי דערלאַנגט אַ יויך צום טיש וואָס, זאָגט שבֿע, „איז געווען איינס אויף דער וועלט.“ איין מאָל איז שבֿע געפֿאָרן אין אַן אויטאָ מיטן ייִדישן קולטור־טוער גרשון ווײַנער ז״ל און אַנדערע, ווען עמעצער האָט דערמאָנט דעם נאָמען „יעוואַ ביידער“. אַלע האָבן תּיכּף געלויבט איר יויך און מסכּים געווען אַז ס׳איז טעם גן־עדן.
יעוואַ האָט אויך געהאַט אויסערגעוויינטלעכע זכרונות צו דערציילן פֿון איר לעבן. זי איז למשל אַ מאָל געווען אויף אַ חתונה, וואָס מע האָט געפּראַוועט אויף ביידע זײַטן פֿון טײַך זברוטש: די מחותּנים און גוטע־פֿרײַנד האָבן געוואָרפֿן מיט „מזל־טובֿס“ און פּעקלעך עסנוואַרג איבערן טײַך. אין 2012 האָט דער ניו־יאָרקער רוסיש־שפּראַכיקער פֿאַרלאַג „ליבערטי פּאָבלישינג האַוס“ פֿאַרעפֿנטלעכט אירע זכרונות אונטערן טיטל „אימענאַ נעזאַבוועניע“ (אומפֿאַרגעסלעכע נעמען).
יעוואַ איז געווען אַ ליבער מענטש און ליב געהאַט די ייִדישע קולטור. זי וועט אונדז שטאַרק אויספֿעלן.
The post Recalling Yeva Beider, devoted widow of the writer Chaim Beider appeared first on The Forward.
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2 Jewish men stabbed in London, in attack British PM Keir Starmer calls ‘utterly appalling’
(JTA) — Two Jewish men were stabbed on the street in a heavily Orthodox neighborhood of London on Wednesday, escalating anxieties amid ongoing incidents targeting local Jews that police say reflect Iranian involvement.
A man was arrested at the scene in Golders Green after being apprehended first by members of the Shomrim, a Jewish security force that operates in parts of London. Hatzola, the Jewish-operated nonprofit emergency service whose ambulances were recently burned in an arson, treated the two victims.
“One male was seen running along Golders Green Road armed with a knife and attempting to stab Jewish members of the public. Shomrim responded immediately and detained the suspect. Police attended and deployed a taser,” Shomrim said in a post to social media.
Both men who were stabbed — one in his 70s and the other in his 30s — are hospitalized in stable condition, according to the Metropolitan Police.
Prime Minister Keir Starmer condemned the attack, calling it antisemitic and praising the nonprofit services that responded.
“The antisemitic attack in Golders Green is utterly appalling. Attacks on our Jewish community are attacks on Britain,” he said on X. “Thank you to Shomrim, Hatzola and the police for acting swiftly. Those responsible will be brought to justice.”
The incident comes amid a series of attacks on Jewish institutions, and arrests of people who allegedly staged them or otherwise are accused of posing threats to the London Jewish community. No one had previously been injured in the incidents, which have included multiple arson attacks on local synagogues and, on Tuesday, a fire at a memorial in Golders Green for those murdered by the Iranian regime. Police have arrested dozens of people in recent weeks and have said they see evidence that Iran may be paying locals to stoke violence against Jews.
The Metropolitan Police said they were working to identify the nationality and background of the attacker in Golders Green, who they said was 45 and had attempted to stab officers to responded to the scene. They also acknowledged that the current situation is alarming to Jews in London.
“We are aware of the significant distress and concern this incident is likely to cause in the face of a number of incidents in the local area,” Deputy Chief Superintendent Luke Williams, who leads policing in the area, said in a statement. “A suspect is in custody, and investigators are considering all possible motives.”
This article originally appeared on JTA.org.
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