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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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German Antisemitism Commissioner Targeted With Death Threat Letter After Arson Attack on Home
Andreas Büttner (Die Linke), photographed during the state parliament session. The politician was nominated for the position of Brandenburg’s anti-Semitism commissioner. Photo: Soeren Stache/dpa via Reuters Connect
Andreas Büttner, the commissioner for antisemitism in the state of Brandenburg in northeastern Germany, has been targeted the second attack in under a week after receiving a death threat, sparking outrage and prompting local authorities to launch a full investigation.
According to the German newspaper Potsdamer Neueste Nachrichten (PNN), the Brandenburg state parliament received a letter on Monday threatening Büttner’s life, with the words “We will kill you” and an inverted red triangle, the symbol of support for the Islamist terrorist group Hamas.
State security police have examined the anonymous letter under strict safety measures, determining that a gray substance inside was harmless. Authorities are now probing the incident as part of an ongoing investigation into threats against the German official.
Ulrike Liedtke, president of the Brandenburg state parliament, condemned the latest attack on Büttner, describing the death threats and harassment as “completely unacceptable.”
“Threats and violence are not a form of political discourse, but crimes against humanity,” Liedtke said. “Andreas Büttner has our complete support and solidarity.”
A former police officer and member of the Left Party, Büttner took office as commissioner for antisemitism in 2024 and has faced repeated attacks since.
On Sunday night, Büttner’s private property in Templin — a town located approximately 43 miles north of Berlin — was targeted in an arson attack, and a red Hamas triangle was spray-painted on his house.
The home of Germany’s antisemitism commissioner, Andreas Büttner, was set on fire overnight in a targeted attack.
His family was inside the house at the time.
This is the second attack against Büttner in the past 16 months. His car was previously vandalized with swastikas. This… pic.twitter.com/cAbFnMIwQ7
— Combat Antisemitism Movement (@CombatASemitism) January 5, 2026
According to Büttner, his family was inside the house at the time of the attack, marking the latest assault against him in the past 16 months.
“The symbol sends a clear message. The red Hamas triangle is widely recognized as a sign of jihadist violence and antisemitic incitement,” Büttner said in a statement after the incident.
“Anyone who uses such a thing wants to intimidate and glorify terror. This is not a protest, it is a threat,” he continued.
Hamas uses inverted red triangles in its propaganda videos to indicate Israeli targets about to be attacked. The symbol, a common staple at pro-Hamas rallies, has come to represent the Palestinian terrorist group and glorify its use of violence.
In August 2024, swastikas and other symbols and threats were also spray-painted on Büttner’s personal car.
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Harvard President Blasts Scholar Activism, Calls for ‘Restoring Balance’ in Higher Ed
Harvard University President Alan Garber speaks during the 374th Commencement exercises at Harvard University in Cambridge, Massachusetts, US, May 29, 2025. Photo: REUTERS/Brian Snyder
Harvard University president Alan Garber, fresh off a resounding endorsement in which the Harvard Corporation elected to keep him on the job “indefinitely,” criticized progressive faculty in a recent podcast interview for turning the university classroom into a pulpit for the airing of their personal views on contentious political issues.
Garber made the comments last week on the “Identity/Crisis Podcast,” a production of the Shalom Hartman Institute, a Jewish think tank which specializes in education research.
“I think that’s where we went wrong,” Garber said, speaking to Yehuda Kurtzer. “Because think about it, if a professor in a classroom says, ‘This is what I believe about this issue,’ how many students — some of you probably would be prepared to deal with this, but most people wouldn’t — how many students would actually be willing to go toe to toe against a professor who’s expressed a firm view about a controversial issue?”
Garber continued, saying he believes higher education, facing a popular backlash against what critics have described as political indoctrination, is now seeing a “movement to restore balance in teaching and to bring back the idea that you really need to be objective in the classroom.”
He added, “What we need to arm our students with is a set of facts and a set of analytic tools and cultivation of rigor in analyzing these issues.”
Coming during winter recess and the Jewish and Christian holidays, Garber’s interview fell under the radar after it was first aired but has been noticed this week, with some observers pointing to it as evidence that Harvard is leading an effort to restore trust in the university even as it resists conceding to the Trump administration everything it has demanded regarding DEI (diversity, equity, and inclusion), viewpoint diversity, and expressive activity such as protests.
As previously reported by The Algemeiner, Garber has spent the past two years fighting factions from within and without the university that have demanded to steer its policies and culture — from organizers of an illegal anti-Israel encampment to US President Donald Trump, who earlier this year canceled $2.26 billion in public money for Harvard after it refused to grant his wishlist of reforms for which the conservative movement has clamored for decades.
Even as Harvard tells Trump “no,” it has enacted several policies as a direct response to criticisms that the institution is too permissive of antisemitism for having allowed anti-Zionist extremism to reach the point of antisemitic harassment and discrimination. In 2025, the school agreed to incorporate into its policies a definition of antisemitism supported by most of the Jewish community, established new rules governing campus protests, and announced new partnerships with Israeli academic institutions. Harvard even shuttered a DEI office and transferred its staff to what will become, according to a previous report by The Harvard Crimson, a “new Office of Culture and Community.” The paper added that Harvard has even “worked to strip all references to DEI from its website.”
Appointed in January 2024 as interim president, Garber — who previously served in roles as Harvard’s provost and chief academic officer — rose to the top position at America’s oldest and, arguably, most prestigious institution at a time when the job was least desirable. At the time, Harvard was being pilloried over some of its students cheering Hamas’s Oct. 7, 2023, massacre across southern Israel and even forming gangs which mobbed Jewish students wending their way through campus; the university had suffered the embarrassment of its first Black president being outed as a serial plagiarist, a stunning disclosure which called into question its vetting procedures as well as its embrace of affirmative action; and anti-Israel activists on campus were disrupting classes and calling for others to “globalize the intifada.”
Garber has since won over the Harvard Corporation, which has refused to replace him during a moment that has been described as the most challenging in its history.
“Alan’s humble, resilient, and effective leadership has shown itself to be not just a vital source of calm in turbulent times, but also a generative force for sustaining Harvard’s commitment to academic excellence and to free inquiry and expression,” Harvard Corporation senior fellow Penny Pritzker said in a statement issued on behalf of the body, which is the equivalent of a board of trustees. “From restoring a sense of community during a period of intense scrutiny and division to launching vital new programs on viewpoint diversity and civil discourses and instituting new actions to fight antisemitism and anti-Arab bias, Alan has not only stabilized the university but brought us together in support of our shared mission.”
Follow Dion J. Pierre @DionJPierre.
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Holocaust Survivors Sent Care Packages to Oct. 7 Hostages for Hanukkah
The Menorah for Hanukkah on the Square 2025 in Trafalgar Square, London, United Kingdom, Dec. 14, 2025. Photo: Matthew Chattle/Cover Images via Reuters Connect
Survivors of the Holocaust spread holiday cheer this Hanukkah by delivering care packages to a group of 20 hostages whom the terrorist group Hamas recently released from captivity to fulfill the requirements of a ceasefire which suspended hostilities with Israel.
The gifts, dropped off at the Israeli consulate office in New York City, was made possible by The Blue Card, the only US-based charity organization which provides financial assistance and other services to survivors of the Holocaust. Originally founded in 1934 to assist Jews who had fled Germany to escape Hitler’s persecution of the country’s Jews, it has operated ceaselessly for nearly a century.
Over the past two years, the world has seen a revival of antisemitism unlike any since the period in which The Blue Card was founded, sparked by the Hamas-led Oct. 7, 2023, massacre that claimed the lives over of 1,200 Israelis and stole years and even more lives from 251 more who were kidnapped and held hostage in Gaza.
Some of the hostages who survived captivity have been released in stages since Israel and Hamas agreed on a ceasefire in October, and on Monday, Blue Card executive director Masha Pearl said the organization felt it necessary to reach out to them due to their having experienced a plight that is painfully familiar to what its clients endured in Europe during the Holocaust. Pearl also discussed the Bondi Beach mass shooting, in which a father and son inspired by Islamism opened fire on Jews celebrating the start of Hanukkah, murdering 15 people and injuring 40 others.
“Holocaust survivors and former hostages share a uniquely painful bond shaped by survival and resilience,” Pearl said. “After witnessing a mass shooting at a Chanukah event in Sydney, it felt even more urgent for our survivors to deliver these care packages now, spreading light at a moment that feels dark for the entire Jewish world. The resilience of the Holocaust survivors we assist, the former hostages, and now the survivors of the attack in Australia remind us that even in the face of hatred and violence, the Jewish people remain united.”
In a press release Blue Card said the care packages “carried profound meaning,” being filled to the brim with goods of all sorts, from blankets and water bottles to chap stick and even handwritten notes from the Holocaust survivors who sent them.
Follow Dion J. Pierre @DionJPierre.