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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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Israeli Artist Forced to Close Mexico City Exhibit for ‘Safety Reasons’ After Antisemitic Harassment, Vandalism
Pro-Palestinian protesters and vandals hold a flag during a demonstration against Amir Fattal, an openly Zionist Israeli graphic artist. They later spray-painted the facade of the private KÖNIG GALERIE gallery, where he was exhibiting some of his AI-generated works. Photo: Gerardo Vieyra / SOPA Images via Reuters Connect
An Israeli artist based in Berlin was forced to close his solo exhibition at a Mexico City gallery a week earlier than planned following continued antisemitic harassment, a protest at his exhibit, and vandalism of the gallery.
Artist and curator Amir Fattal shared the news on Instagram about the closing of his exhibit, “I’m Just Here For The Pool,” at the König contemporary art gallery. The show opened on Feb. 3 and was expected to close on April 1, according to the gallery.
On March 26, pro-Palestinian activists spray-painted antisemitic and anti-Israel messages and symbols across the outer walls of the König gallery. Swastikas, Star of Davids, the word “Nazi,” and more offensive messages were spray-painted along with the number “666.” The number is used by the Aryan Brotherhood, a white supremacist group, and it signifies the “number of the beast,” according to the Anti-Defamation League. On the door of the gallery, a vandal carved a swastika and the phrase “acqui hay terroristas,” which translates in English to “here there are terrorists.” The same phrase was written in chalk on the street in front of the gallery, according to photos shared by Reuters.
On March 21, during a guided tour of the gallery, roughly 15 demonstrators gathered outside, chanted against Fattal, and called him “a murderer” and “a Mossad agent,” according to Artnet.
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Israeli Forces to Expand Control in Southern Lebanon as Defense Chief Outlines Long-Term Security Plans
Smoke rises after an Israeli strike, amid escalating hostilities between Israel and Hezbollah, as the US-Israeli conflict with Iran continues, in southern Lebanon, March 28, 2026. Photo: REUTERS/Stringer
Israeli Defense Minister Israel Katz announced on Tuesday that the Israel Defense Forces (IDF) will maintain security control over territory in southern Lebanon up to the Litani River even after active ground operations against Hezbollah conclude, signaling plans for a sustained Israeli security presence along the northern front.
During a press briefing, Katz pointed to a shift beyond limited cross-border raids, outlining plans for a long-term security presence and the creation of a buffer zone as part of a broader effort to reshape the security landscape in Lebanon.
Under this new plan, the IDF will move to dismantle terrorist infrastructure in border villages using operational methods similar to those employed in the Gaza Strip against Hamas, aiming to permanently eliminate the threat of cross-border raids and anti-tank fire targeting Israeli frontline communities.
“The return of more than 600,000 southern Lebanese residents who fled north of the Litani River will remain completely prohibited until the security of Israel’s northern residents is guaranteed,” the Israeli defense chief said.
Katz also announced the IDF plans to establish a new defensive line inside Lebanese territory once the ground campaign concludes.
“The IDF will maintain security control over the entire area up to the Litani River, including all bridges, while fully neutralizing Radwan’s forces and destroying their weapons,” he said, referring to Hezbollah’s elite units.
“We are determined to separate Lebanon from Iran’s influence, to uproot the snake’s teeth, and eliminate Hezbollah’s threat capability,” Katz continued. “The situation in Lebanon will change once and for all — we will enforce security just as we do in Syria and Gaza.”
During a cabinet meeting on Tuesday, Israeli Prime Minister Benjamin Netanyahu outlined a tougher operational approach to the campaign in Lebanon, emphasizing shifts in battlefield tactics following the heavy toll the fighting has taken.
“I have ordered our soldiers to avoid entering buildings whenever possible, using mechanical engineering equipment and heavy weapons instead,” Netanyahu said, explaining that the goal is to “minimize casualties” and to safeguard soldiers on the ground.
With prospects of potential ceasefire negotiations with Iran to end the ongoing war still uncertain, Netanyahu said Israel is shaping a new security reality along its northern border and will act independently of any agreement possibly reached with Tehran.
“Even if an agreement is reached with Iran, a ceasefire in Lebanon cannot be imposed on us — that must be Israel’s own independent decision,” the Israeli leader said.
The Iranian regime backs and ultimately commands Hezbollah, having formed the Lebanese terrorist group in the 1980s and, since then, providing significant amounts of weapons, funding, and training.
Last week, Hezbollah Secretary General Naim Qassem warned that negotiating with Israel while under fire would amount to forced surrender, adding that his fighters are prepared to continue operations “without limits.”
With a ground maneuver underway to expand a defensive zone in southern Lebanon, the IDF says it has eliminated over 850 Hezbollah terrorists since fighting began earlier this month, while continuing to dismantle the group’s command and weapons infrastructure.
Israel has intensified strikes targeting Hezbollah, particularly south of the Litani River, where the group’s operatives have historically been most active against the Jewish state. Hezbollah opened fire on Israel earlier this month, just a few days after the US and Israel launched their joint military campaign against Iran.
Israel has long demanded that Hezbollah be barred from carrying out activities south of the Litani, located roughly 15 miles from the Israeli border.
Although the overall number of attacks has decreased, Hezbollah continues to launch significant strikes against civilian areas while maintaining sustained operations targeting IDF forces in southern Lebanon.
In just the first month of the conflict, Israeli officials report that Hezbollah has carried out more than 900 coordinated attacks, marking a sharp increase in cross-border activity and a broader expansion of its operations across the region.
On Sunday, Israeli forces intercepted a Hezbollah a terrorist cell disguised as paramedics who tried to transport weapons in an ambulance.
For years, Hezbollah has embedded command posts, weapons depots, snipers, and troops within Shiite villages, situating them in the heart of civilian centers near schools, hospitals, mosques, and main roads to turn entire communities into battlefields.
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Newest Members of the IDF’s Ultra-Orthodox Hasmonean Brigade Get Their Berets
Illustrative: Members of the Hasmonean Brigade during their beret ceremony at the Western Wall on Aug. 6, 2024. Photo: Screenshot
The third set of soldiers in the Hasmonean Brigade, the Israel Defense Force’s first ultra-Orthodox brigade, completed eight months of training earlier this month and received their dark blue berets at the end of a beret march of approximately 40 kilometers, according to the Israeli news outlet Walla.
The troops will join the regular forces of the Hasmonean Brigade, which was established in 2024 and has participated in military operations in Syria, the West Bank, the Gaza Strip, and southern Lebanon. Members of the brigade live an ultra-Orthodox lifestyle, and their blue berets reportedly symbolize the sky. The brigade is named after the Hasmonean Jewish dynasty that ruled Judea, and liberated Jerusalem and the Temple from oppressive Greek rule.
In February, members of the Hasmonean Brigade’s Yonatan Battalion completed its first-ever battalion-level exercise in the Golan Heights area, “marking the conclusion of the battalion’s operational certification process and its preparation for operational activity,” according to the military. During the exercise, the soldiers were trained in combat in open terrain, targeted operations, and urban warfare scenarios. It took place mere weeks after the start of the Israel-Iran war, also known as Operation Roaring Lion.
“You can be ultra-Orthodox and be a combat soldier – you are making history,” Commander of the Ground Forces, Major General Nadav Lotan, said at the time. “The Hasmonean Brigade continues to establish itself as a combat brigade within the ground forces. This exercise, along with the establishment of the battalions, marks another significant step forward. I am proud of you – the brigade’s troops and commanders. You operate at a high operational standard while preserving your unique identity.”