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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 quiet diplomatic shift in the Middle East, with monumental consequences for Israel
Something significant is happening between Israel and Syria, and it deserves more attention than it is getting.
With the backing of the United States, Israeli and Syrian officials have agreed to create what they call a “joint fusion mechanism” — a permanent channel for coordination on intelligence, de-escalation, diplomacy and economic matters — during meetings in Paris. It appears to be the beginning of institutionalized contact between two countries that have formally been at war since 1948.
If this process continues, it will count as a genuine foreign-policy success for President Donald Trump’s administration.
To understand how profound that change would be, it is worth recalling the two countries’ shared history.
Israel and Syria — which the U.S. struck with a set of targeted attacks on the Islamic State on Saturday — have fought openly or by proxy for decades. Before 1967, Syrian artillery positions in the Golan Heights regularly shelled Israeli communities in the Hula Valley and around the Sea of Galilee. After Israel captured that region in 1967, the direct shelling stopped, but the conflict did not.
Syria remained formally committed to a state of war; Israel entrenched itself in the Golan Heights; both sides treated the frontier as a potential flashpoint to be managed carefully. After Egypt and Israel made peace in 1979, Syria became Israel’s most dangerous neighboring state.
A 1974 disengagement agreement created a United Nations-monitored buffer zone, which mostly ensured peace along the border, but did not resolve anything fundamental. In Lebanon, Israel and Syria backed opposing forces for years, and their air forces clashed briefly during the 1982 Lebanon War. Later, Iran’s growing role in Syria and Hezbollah’s military buildup added new threats. The Syrian civil war then destroyed basic state capacity and created precisely the kind of militia-rich environment Israel fears along its borders.
Now, with the dictator Bashar al-Assad gone and the former rebel leader Ahmed al-Sharaa in power, Syria is a broken country trying to stabilize. Sharaa’s past associations, disturbingly, include leadership of jihadist groups that were part of the wartime landscape in Syria. But today he governs a state facing economic collapse, infrastructure ruin and a population that needs jobs and basic services. His incentives are simple and powerful: ensure the survival of his regime, invite foreign investment, and secure relief from isolation and sanctions. Those goals point toward the U.S. and its partners, including Israel.
The Trump administration has made it clear that it wants to see new Syrian cooperation with Israel, with the suggestion that progress with Israel will become a gateway to international investment, and to a degree of political acceptance that Syria has lacked for years. Al-Sharaa’s willingness to engage is therefore not a mystery.
Israel’s motivations are also straightforward. After the Gaza war, Israel is facing a severe reputational problem. It is widely viewed abroad as reckless and excessively militarized. The government is under pressure over not only the conduct of the war but also the perception that it has no political strategy and relies almost exclusively on force. A diplomatic track with Syria allows Israel to present a very different picture: that of a country capable of negotiations with ideologically opposed neighbors, de-escalation, and regional cooperation.
There are significant security incentives, too.
Israel wants to limit Iran and Hezbollah’s influence in Syria. It wants a predictable northern border. It wants assurances regarding the Druze population in southern Syria — brethren to the Israeli Druze who are extremely loyal to the state, and who were outraged after a massacre of Syrian Druze followed the installation of al-Sharaa’s regime. It wants to ensure that no armed Syrian groups will tread near the Golan. A coordinated mechanism supervised by the U.S. offers a strong diplomatic way to address these issues.
The U.S. will benefit as well. The Trump team is eager to show that it can deliver lasting diplomatic achievements in the Middle East after the success of the Abraham Accords in Trump’s first term. A meaningful shift in Israel–Syria relations would be a very welcome addition, especially as the U.S.-brokered ceasefire in the Gaza war faces an uncertain future.
The main questions now are practical. Can the “joint fusion mechanism” function under pressure? What will happen when there is, almost inevitably, an incident — a drone downed, a militia clash, a cross-border strike? Will the new system effectively lower the temperature, or will it collapse at the first crisis?
Will Iran — facing its own profound internal political crisis — accept a Syria that coordinates with Israel under U.S. supervision, or will it work to undermine al-Sharaa? How will Hezbollah react if Damascus appears to move away from the axis of “resistance” and toward a security understanding with Israel?
How would an Israel-Syria deal impact Lebanon’s moribund efforts to dismantle Hezbollah’s military capacity? Al-Sharaa has already helped significantly by ending the transfer of weapons to Hezbollah from Iran through his territory. Might he also actively help with the disarming of the group?
No one should expect a full peace treaty soon. The question of possession of the Golan Heights probably remains a deal-breaker. Public opinion in Syria has been shaped by decades of official hostility to Israel, and Israeli politics is fragmented and volatile.
But diplomatic breakthroughs can confound expectations. They usually begin with mechanisms like this one, involving limited cooperation, routine contact and crisis management.
If this effort helps move the border from a zone of permanent tension to one of managed stability, that alone would be a major shift. It would also send a signal beyond the region: U.S. engagement still matters, and American pressure and incentives can still change behavior.
The post A quiet diplomatic shift in the Middle East, with monumental consequences for Israel appeared first on The Forward.
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Israel’s Netanyahu Hopes to ‘Taper’ Israel Off US Military Aid in Next Decade
Israeli Prime Minister Benjamin Netanyahu speaks to the press on Capitol Hill, Washington, DC, July 8, 2025. REUTERS/Evelyn Hockstein
Israeli Prime Minister Benjamin Netanyahu said in an interview published on Friday that he hopes to “taper off” Israeli dependence on US military aid in the next decade.
Netanyahu has said Israel should not be reliant on foreign military aid but has stopped short of declaring a firm timeline for when Israel would be fully independent from Washington.
“I want to taper off the military within the next 10 years,” Netanyahu told The Economist. Asked if that meant a tapering “down to zero,” he said: “Yes.”
Netanyahu said he told President Donald Trump during a recent visit that Israel “very deeply” appreciates “the military aid that America has given us over the years, but here too we’ve come of age and we’ve developed incredible capacities.”
In December, Netanyahu said Israel would spend 350 billion shekels ($110 billion) on developing an independent arms industry to reduce dependency on other countries.
In 2016, the US and Israeli governments signed a memorandum of understanding for the 10 years through September 2028 that provides $38 billion in military aid, $33 billion in grants to buy military equipment and $5 billion for missile defense systems.
Israeli defense exports rose 13 percent last year, with major contracts signed for Israeli defense technology including its advanced multi-layered aerial defense systems.
US Republican Senator Lindsey Graham, a staunch Israel supporter and close ally of Trump, said on X that “we need not wait ten years” to begin scaling back military aid to Israel.
“The billions in taxpayer dollars that would be saved by expediting the termination of military aid to Israel will and should be plowed back into the US military,” Graham said. “I will be presenting a proposal to Israel and the Trump administration to dramatically expedite the timetable.”
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In Rare Messages from Iran, Protesters ask West for Help, Speak of ‘Very High’ Death Toll
Protests in Tehran. Photo: Iran Photo from social media used in accordance with Clause 27a of the Copyright Law, via i24 News
i24 News – Speaking to Western media from beyond the nationwide internet blackout imposed by the Islamic regime, Iranian protesters said they needed support amid a brutal crackdown.
“We’re standing up for a revolution, but we need help. Snipers have been stationed behind the Tajrish Arg area [a neighborhood in Tehran],” said a protester in Tehran speaking to the Guardian on the condition of anonymity. He added that “We saw hundreds of bodies.”
Another activist in Tehran spoke of witnessing security forces firing live ammunition at protesters resulting in a “very high” number killed.
On Friday, TIME magazine cited a Tehran doctor speaking on condition of anonymity that just six hospitals in the capital recorded at least 217 killed protesters, “most by live ammunition.”
Speaking to Reuters on Saturday, Setare Ghorbani, a French-Iranian national living in the suburbs of Paris, said that she became ill from worry for her friends inside Iran. She read out one of her friends’ last messages before losing contact: “I saw two government agents and they grabbed people, they fought so much, and I don’t know if they died or not.”