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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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US Envoys in Israel to Discuss Future of Gaza
FILE PHOTO: US President Donald Trump’s son-in-law, Jared Kushner, and US Special Envoy Steve Witkoff take part in a charter announcement for US President Donald Trump’s Board of Peace initiative aimed at resolving global conflicts, alongside the 56th annual World Economic Forum (WEF), in Davos, Switzerland, January 22, 2026. Photo: REUTERS/Denis Balibouse/File Photo
US envoys Steve Witkoff and Jared Kushner were in Israel on Saturday to meet with Israeli Prime Minister Benjamin Netanyahu, mainly to discuss Gaza, two people briefed on the matter said, as local authorities reported further violence in the enclave.
The US on Thursday announced plans for a “New Gaza” rebuilt from scratch, to include residential towers, data centers and seaside resorts.
The project forms part of President Donald Trump’s push to advance an October ceasefire between Israel and Palestinian terrorist group Hamas that has been shaken by repeated violations.
LOCAL AUTHORITIES REPORT MORE DEATHS
The Palestinian Health Ministry in Gaza said on Saturday that Israeli fire had killed three people, including two children, in two separate incidents in the northern Gaza Strip.
A statement from the Israeli military said that its troops operating in the northern Gaza Strip identified several militants “who crossed the Yellow Line, planted an explosive device in the area, and approached the troops, posing an immediate threat to them.”
Under the ceasefire accord, Israeli troops were to retreat to a yellow line marked on military maps that runs nearly the full length of Gaza.
A source in the Israeli military told Reuters that the military was aware of only one incident on Saturday and that those involved were not children.
A spokesperson for the Israeli prime minister’s office confirmed that the meeting was planned but did not provide further details.
Earlier this month, Washington announced that the plan had now moved into the second phase, under which Israel is expected to withdraw troops further from Gaza, and Hamas is due to yield control of the territory’s administration.
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Long before Trump’s second-hand Nobel, a laureate sought to curry favor with Nazis by regifting a prize
Donald Trump is not the first authoritarian to come into possession of a Nobel medal that wasn’t intended for him. In 1943, Norwegian novelist Knut Hamsun sent his Nobel Prize for Literature to Nazi propaganda minister Joseph Goebbels, a gesture meant to secure a private audience with Adolf Hitler.
Although Hamsun was infamous during World War II and its aftermath, most Americans likely know little about the author. It has taken Trump’s lust for the Nobel Peace Prize — something like Gollum’s slobbering obsession with the “precious” gold ring — to cast fresh light on the Norwegian novelist.
Hamsun occupies a place in history similar to Hitler’s filmmaker Leni Riefenstahl: a genuine artistic innovator who fell under the spell of der Führer and paid for it later in life.
Born to a poor rural family in 1859, Hamsun began writing in his teens. Over his long career he produced more than two dozen novels, along with poetry, short stories and nonfiction. His influence was enormous — Isaac Bashevis Singer once called him the father of modern literature, and his psychological style has often been compared to Franz Kafka’s.

Hamsun vaulted to fame at age 30 with the 1890 publication of the semiautobiographical novel Hunger. He won the 1920 Nobel Prize in Literature for Growth of the Soil, which the Nobel Committee said “aroused the liveliest interest in many countries and has found favorable reception with the most diverse groups of readers.” Those readers included fascists.
Hamsun was a passionate admirer of Germany and of the Nazis’ ideas about Teutonic purity. The admiration was mutual. German critics praised Growth of the Soil for its portrayal of a mystical connection between people and the land — a theme the Nazis eagerly embraced.
During Germany’s 1940–45 occupation of Norway, Hamsun supported the Nazi-installed government of Vidkun Quisling. His devotion to Hitler was so great that he parted with his 18-carat gold Nobel medal, sending it to Goebbels in hopes that it would earn him a personal meeting with the Führer.
It did. But the audience did not unfold as Hamsun hoped. Although he supported the occupation, he objected to some of its harsher measures, including executions. He hoped to persuade Hitler to soften the regime’s policies. The meeting — retold in a 2005 New Yorker article titled “In From the Cold” — took place June 26, 1943, at Hitler’s retreat in the Bavarian Alps. According to the article, as the two men took tea in Hitler’s study, the conversation turned tense when Hamsun urged Hitler to fire Josef Terboven, the Reich Commissioner for Norway. Hitler rebuffed him, saying, “The Reich Commissioner is a warrior; he’s only there for war-related duties.”
Hitler did not bother to say goodbye when Hamsun left and later snapped at his aides: “I don’t want to see that sort of person here anymore.”
The unpleasant encounter did little to dampen Hamsun’s admiration for the Nazi leader. On May 7, 1945, a collaborationist newspaper published Hamsun’s obituary for Hitler, in which he wrote: “He was a warrior, a warrior for mankind, and a prophet of the gospel of justice for all nations.”
After the war, thousands of Norwegian collaborators were arrested and put on trial — including Hamsun. By then he was 86, and his age, along with his stature as Norway’s most celebrated novelist, worked in his favor. While 40 collaborators were executed, including Quisling, Hamsun received a fine of 325,000 kroner, reduced from 575,000.
Hamsun died on Feb. 19, 1952, at age 92.
As for the Nobel medal he sent to Goebbels — it vanished. No one knows what became of it.
Which brings us to Donald Trump and his pre-owned Nobel.
Hitler had no shame in accepting lavish gifts from industrialists, world leaders, and others who arrived in Berlin seeking favor. But Hitler might well be impressed with Donald Trump’s collection during his second term — a glittering haul accumulated on trips to the Middle East and during visits to the White House by foreign dignitaries and sycophantic American business executives.
Size-wise, nothing comes close to the 747 provided by Qatar. And knowing the way to Trump’s heart, Benjamin Netanyahu personally presented him with a letter that the Israeli leader had sent nominating him for the Nobel Peace Prize. FIFA, the world soccer federation, went so far as to create its own peace prize for the American president.
Trump kept pressing his case that he deserved the Nobel prize, sometimes aided by foreign allies who publicly insisted that he, more than anyone else, merited the honor. But the Nobel Committee never budged.
A workaround presented itself in the person of María Corina Machado, the Venezuelan opposition leader who had been awarded the 2025 Nobel Peace Prize for her role in resisting Nicolás Maduro’s dictatorship. Machado, desperate for Trump’s backing as Venezuela enters a volatile transition, made a calculation as stark as Hamsun’s in 1943. She handed Trump her Nobel medal in the hope that the gesture would secure her political survival.
Still smoldering over being snubbed by the Nobel Committee for a Peace Prize of his own, Trump lashed out in familiar ways — threatening to use military force to take control of Greenland and to slap heavy new tariffs on European allies. Those threats eventually fizzled after Europe dug in its heels, but the resentment never did.
It’s unlikely America’s Gollum will abandon the quest for his own golden “precious,” one with his name engraved on it. With the inauguration of Trump’s new “Board of Peace,” he may have convinced himself he’s found a fresh path to Oslo. The board — made up of foreign governments invited by Trump — is billed as a vehicle for resolving global conflicts. Permanent membership is offered to those that contribute more than $1 billion. As chairman, Trump would be in a position to steer the board however he wishes.
If the “Board of Peace” doesn’t help him finally secure a gold Nobel medallion, it may still serve another purpose: expanding his already considerable wealth.
Luxury condos on the Gaza waterfront, anyone?
The post Long before Trump’s second-hand Nobel, a laureate sought to curry favor with Nazis by regifting a prize appeared first on The Forward.
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Oct. 7 spurred this secular private school in Manhattan to start holding an annual Shabbat gathering
(New York Jewish Week) — A new Jewish tradition has taken hold at a private, non-Jewish school in Manhattan.
On a recent Friday, about 240 students, parents and educators from the Town School, located on the Upper East Side, stayed late to eat matzah ball soup, recite blessings over challah and candles, and sing Hebrew songs.
It was the third time in as many years that the school had held a Shabbat celebration, and more than half of the students and parents in attendance weren’t Jewish.
“I think there is a real enthusiasm and excitement for families who are not Jewish to come into their first Shabbat or learn more about it again,” said Pierangelo Rossi, the Town School’s director of equity and community action.
Originally from Peru, Rossi is not Jewish. His first Shabbat experience ever was at the Town School in 2024, after Jewish parents organized a gathering in the wake of the Oct. 7, 2023, attack on Israel.
For years, the school had special “affinity groups” and spaces for students and parents of color, for “white anti-racist” students, and for queer students and their allies. The attack, and the surge of antisemitism that followed, spurred Jewish students and parents to work with the school to create their own.
While the Town School does not collect information about students’ religion, officials estimate that at least a quarter of the student body is Jewish.
“After Oct. 7, we knew — and it became clear to all of us — that our Jewish community was looking for that sense of affirmation in a way they hadn’t before,” said Head of School Doug Brophy.
Brophy, who has led the Town School since 2018, understood how they felt. He is also vice president of the Stephen Wise Free Synagogue on the Upper West Side.
Affinity groups have emerged as a hot-button issue in the debate over DEI, or diversity, equity and inclusion. While their proponents say the groups give minority and marginalized populations desperately needed spaces of their own, critics of DEI say the groups can reinforce divisions and inappropriately inject progressive ideologies into schools and other institutions.
Jewish “anti-woke” advocates have particularly criticized the affinity group framework for too often forcing Jewish students into a binary framework about race and privilege that does not recognize the complexity of Jewish identity.
At the same time, tensions amid the aftermath of Oct. 7 roiled some New York City private schools. The head of one elite private school stepped down last summer after members of the school community clashed over identity, antisemitism, Islamophobia and the Gaza war.
At the Town School, officials and parents say, those tensions have been absent. Instead, the entire school community has embraced the Shabbat celebrations alongside the other special events held to honor students’ traditions, such as a lion parade on the school’s block to mark Lunar New Year and a Persian New Year observance led by parents.
“Whether it’s coming from a vulnerability or a difference, it’s [about] wanting to be part of something bigger than yourself, and not just our Jewish families and colleagues feeling a sense of identity, but everyone else developing a greater sense of empathy,” Brophy said.
The Town School is not the only non-Jewish private school in the city to hold Shabbat celebrations in recent years: Riverdale Country Day School in the Bronx says 700 people attended its November 2024 gathering. But it has committed to annual gatherings, which are growing in attendance.
That first Shabbat in 2024 was led by Rabbi Bradley Solmsen from the Conservative Park Avenue Synagogue; in 2025, by Rabbi Rena Rifkin from Stephen Wise; and this year, by Ana Turkienicz, an educator from the Upper West Side’s Rodeph Sholom School and the Pelham Jewish Center.
“For me, it was really a very different context where you have non-Jews that are interested in learning about what is it that Jews do and are open,” Turkienicz said. “And it was beautiful.”
To create an educational plan that was still engaging for children of all ages, she narrowed the focus of the event to two words: “Shabbat” and “shalom,” meaning “Sabbath” and “peace.”
“I need to use vocabulary, and I need to work with the room only, with those with concepts that are universal,” Turkienicz added. “And there is a lot. There’s a lot in ‘Shabbat’ and ‘shalom’ that are universal.”
She taught the guests the songs “Bim Bam” and “Salaam” — the latter being the Arabic word for “shalom” — and recited the blessings over the candles and challah, and the younger children decorated placemats, while the older children hung out with their classmates.
14-year-old Daniel Rybak stuck around near the school after his last class of the day got out so he could attend the after-school Shabbat service for his second time.
Rybak, whose mother is Catholic and whose father is Jewish, has attended the Town School for nine years.
“Just talking about the greater world at this point, with all the troubles in the Levant, with Israel and Gaza, as well as just the general sense, I suppose, that things are getting a little more violent around the world — it’s just a nice thing that brings people back to that sense of, ‘Hey, we’re here, we’re family, we’re OK, we’re getting through this,’” Rybak said. “It just shows that even throughout all that that’s happened everywhere, there’s still pockets of community and of real hope.”
This year, the Shabbat gathering took on added meaning for some attendees as some of New York’s Jews feel increasingly alienated or afraid following the election of Zohran Mamdani, a longtime and staunch critic of Israel, to the mayor’s office.
“The whole time I was thinking: 20 blocks north from here, there is a new mayor that we don’t know what [he’s] going to be for the Jewish community in New York,” Turkienicz said. “Twenty blocks south of his mansion, we have a private, non-Jewish school doing a Kabbalat Shabbat.”
Katy Williamson, a Jewish parent who helped organize the last two Town School Shabbats and attended this year’s, said she was “really blown away by the sense of community” and surprised by how many people attended.
“I read the news. Obviously, we live in New York City. I’m very aware of what’s going on outside of this, just in the world right now,” she said. “There was just this really warm feeling. … So many people from the school community joined and wanted to be a part of it.”
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