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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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UNC Student Newspaper Publishes Tropes About Jews and Money
In May 2024, Students for Justice in Palestine poured red paint which resembles spilled blood on the steps of the South Building, an office for administrative staff and the chancellor at the University of North Carolina at Chapel Hill. Photo: UNCSJP/Screenshot
The Daily Tar Heel, the student-led newspaper of the University of North Carolina (UNC) at Chapel Hill, recently featured commentary that some view as antisemitic.
On Feb. 26, Kyle Bublic began a column by writing, “The 2022 congressional race for North Carolina’s 4th District was puppeteered by the wallet of Benjamin Netanyahu, as he whisked away the last of our previously honest lawmakers with American Israel Public Affairs Committee money.”
The American Jewish Committee explains why it is antisemitic to allege that Jews are political puppet masters:
Myths of control portray Jews as secret puppet masters, ruling over others and manipulating the world’s economies and governments. For centuries, Jews were blamed for controlling world events behind the scenes, leading “blind” leaders into wars and debt to enrich themselves and further their own hidden agenda …
The imagery of Jewish leaders pulling the strings of politicians was featured in Nazi propaganda … Antisemitic propaganda continues to spread the idea that rich or influential Jews are behind the scenes conspiring to further their plans of world domination.
It is a serious matter to state or imply that the Prime Minister of Israel is in any way financing or directing an American election. According to Congress, “Federal campaign finance law and regulation prohibits foreign money in U.S. elections.”
I reached out to five of the paper’s editors for comment. None responded.
Later in his column, the op-ed’s author repeated the antisemitic puppet master trope, writing:
While I would like to imagine Israel’s investment into Durham and Orange County was driven by their prime minister’s love for Cosmic Cantina [a local restaurant], it seems like his motivation was more nefarious. Nida Allam, Foushee’s most fearsome competitor in the 2022 election, represented everything that makes our puppet masters shudder — a principled and young candidate fighting under a truly progressive ticket.
The student column focused on the primary election in NC’s 4th Congressional district held last week between Democratic Congressional incumbent Valerie Foushee and her challenger, Durham County Commissioner Nida Allam. Israel became a major focus of this Democratic primary, with anti-Israel radicals embracing Allam.
I previously reported that in 2018, Allam tweeted, “This is the United States of Israel,” which is consistent with centuries-old antisemitic propaganda that Jews seek to dominate the world. Allam ended up issuing a public apology for her antisemitism.
The Daily Tar Heel endorsed Allam in the Nov. 3 primary. Foushee narrowly beat Allam in the election.
UNC Professor of Medicine and longtime Jewish communal leader, Dr. Adam Goldstein, told me:
It’s truly disappointing to see the UNC student newspaper endorsing a partisan description of a Congressional race in 2026 as “puppeteered by the wallet of Benjamin Netanyahu’” in 2022, with references to “Bibi’s pockets.”Such descriptions echo longstanding antisemitic tropes portraying Jews as secretly controlling political systems through money. This moves beyond criticism of a current candidate’s policies into shameful demonization of a longtime progressive Congresswoman, and those that support her, through language that is itself manipulative and corrupting.
The Daily Tar Heel’s policy page claims that it seeks “to be a leader in espousing the ethical standards of the industry [and] to serve as a beacon of journalistic integrity.” Yet, the paper fails UNC students, our community, and the people of North Carolina, by allowing these tropes about Jews and money in its pages.
Peter Reitzes writes about antisemitism in North Carolina and beyond.
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CNN Shames Itself By Shilling for Iran
Images of Iran’s new supreme leader Mojtaba Khamenei and late Iranian Supreme Leader Ayatollah Ali Khamenei are displayed at a gathering to support Mojtaba Khamenei, amid the US-Israeli conflict with Iran, in Tehran, Iran, March 9, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
There’s a reason why the Iranian regime, which murdered thousands of its own citizens just months ago, only allowed one American network access to the country. It picked CNN, because it thought it would get coverage either that was favorable in some way, or at least not critical.
We are no longer in the era of Mike Wallace. Not long after Ayatollah Khomeini took over in 1979, Wallace interviewed him in Iran. Wallace had the guts to mention that Egyptian leader Anwar Sadat called him a disgrace to Islam and a “lunatic.” The Ayatollah responded by saying that Sadat was not a Muslim and was united with their enemies. He called for the people of Egypt to overthrow Sadat. Sadat was assassinated two years later.
Wallace sat on the floor during the interview, as did the Ayatollah, and asked if he could go visit the American hostages and talk to them. He was refused.
Back to now. CNN’s Frederik Pleitgen interviewed shopkeepers who said they were scared for their lives because there were bombs.
Of course, none of the people Pleitgen would interview are capable of criticizing the regime, or they’d be beaten or killed. Pleitgen himself might be killed if he reports anything the regime doesn’t want. The reports do include the line: “CNN operated in Iran only with government permission.” But that’s meaningless.
There is value to being on the scene in a war zone, but CNN, which gets much of its ratings from bashing Trump, will no doubt find citizens who will curse Trump. And no one they talk to will support the war in any way. Is simply putting in a line that you are reporting only with the permission of the government good enough? Do the ends justify the means in this case?
Pleitgen reported that “oil-filled rain” is falling from the sky. Is he able to report on what the true process was for the appointment of Mojtaba Khamenei as the new leader? Doubtful. What about the real number of its citizens they killed? Of course, they won’t get that. What about why they apologized for striking Gulf countries, and then continued to do so? If we won’t get any real answers to real questions, why is CNN really there — other than to do the bidding of the Iranian regime?
What is surprising is that I thought they’d send the CNN reporter to the girls school that was said to have been hit by American forces. Why not let him speak with some of the parents whose children have been killed? One would think this is exactly what Iran would want. That they have not done so raises suspicions. Was it a school not marked as a school, as part of an Revolutionary Guard Corps facility? Are there some discrepancies Iran doesn’t want the world to know?
It goes without saying that there is propaganda from every country in a war. It’s not always easy to get to the truth, and all countries only want certain information to be public. I’d like to know more about the Iranian ship sunk by America. Was it really unarmed when it was coming back from exercises with India? That’s what Iran says, but the US says that’s a lie. How about an interview with one of the 32 who survived? That would be an interesting interview.
If you’re going to report from an enemy country in war, can you at least have some unique and engaging content? It will be interesting to see if CNN decides to leave Iran, realizing their reputation will be hurt and it’s not worth it to aid an enemy’s propaganda war.
The author is a writer based in New York.
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Self-Reliance Is Israel’s Strategic Imperative
A US Marines F-35C Lightning II is staged for flight operations on the flight deck of the US Navy Nimitz-class aircraft carrier USS Abraham Lincoln in support of the Operation Epic Fury attack on Iran from an undisclosed location March 3, 2026. Photo: US Navy/Handout via REUTERS
History has taught the Jewish people many painful lessons, but perhaps the most enduring one is this: survival can never depend entirely on the goodwill of others. Alliances matter. Partnerships strengthen nations. But the responsibility for defending the Jewish state ultimately rests with Israel itself.
For decades, the alliance between Israel and the United States has been a cornerstone of Israel’s national security. This partnership has saved lives and deterred wars. Yet responsible leadership requires looking forward, not backward.
The global order is shifting. The United States faces growing domestic polarization, rising debt, and strategic competition with China that increasingly dominates its foreign policy priorities. Within parts of American political discourse, support for foreign aid in general, and Israel in particular, is no longer a consensus issue. While bipartisan support for Israel remains somewhat in place at the institutional level, the tone and intensity of the debate have changed.
This does not mean America is abandoning Israel. But it does mean that Israel cannot afford complacency.
The Jewish State was founded in the shadow of embargoes and isolation. In 1948, when the newborn nation faced invasion, it did not enjoy the luxury of dependable suppliers. Those early experiences forged a national doctrine of self-reliance. Over the decades, Israel built one of the most advanced defense industries in the world — precisely because it understood that sovereignty without military independence is fragile.
Today, Israel produces cutting edge missile defense systems such as Iron Dome, David’s Sling, and Arrow. It leads globally in unmanned aerial systems, cyber capabilities, electronic warfare, and advanced battlefield technologies. Israeli defense exports reach Europe, Asia, and the Middle East, including countries that once viewed Israel as an adversary. Innovation is not merely an economic asset for Israel. It is a strategic necessity.
However, critical dependencies remain. Israel does not manufacture its own fifth generation fighter jets. Its air force relies heavily on American platforms such as the F-35 and F-15. Certain precision munitions and key components are sourced from abroad. Moreover, financial frameworks tied to foreign military assistance inevitably create political considerations beyond Israel’s direct control.
If the geopolitical winds shift, even slightly, those dependencies could become vulnerabilities.
Recognizing this reality does not diminish the importance of Israel’s alliances. It strengthens them.
Israel must accelerate investment in domestic production of critical munitions, expand its aerospace capabilities, and secure independent supply chains for raw materials and advanced components. It must ensure that during prolonged conflict, it can sustain itself without waiting for external political approvals. This is not an act of isolation. It is an act of national responsibility.
Israel cannot gamble its security on the internal debates of other nations, however friendly they may be. The Jewish people returned to their homeland to reclaim agency over their destiny. That agency must extend to every dimension of national defense.
In a region where weakness invites aggression, strength guarantees peace. The strongest message Israel can send to both allies and adversaries is clear: we value partnership, but our security will never be outsourced.
Sabine Sterk is the CEO of Time To Stand Up For Israel.