This is a reconstruction of a sabbath liturgy for the Tefillah of the Amidah, at least in some variant of its public recitation, in Greek and preserved in an early Christian work, the Constitutiones Apostolorum (Apostolic Constitutions), a Christian work compiled around 380 CE in Syria. Several prayers derived from Jewish sources appear in the Apostolic Constitutions and they can be found grouped together and labeled “Greek” or “Hellenistic Syanagogal Works” in collections of apocrypha and pseudepigrapha. Because explicitly Christian references appeared to be added onto a pre-existing text with familiar Jewish or “Old Testament” themes and references, scholars in the late 19th century were already suggesting that as many as 16 of the prayers in the Apostolic Constitutions books 7 and 8 were derived from Jewish prayers. A more modern appraisal was made by Dr. Fiensy and published in Prayers Alleged to Be Jewish (Scholars Press 1985). Based on a careful analysis of the prayers, he concludes that the only prayers which can be identified as Jewish with certainty are those found in sections 33-38 of book 7. . . .
Early American Jewry’s liturgies and rituals were conducted in a western Sephardi tradition which had developed in the late 16th and early 17th centuries in Amsterdam. Although most of the members of the first American Jewish communities were of Spanish and Portuguese origins, their worship evolved in the style of the Dutch Sepharadim. These oral transmissions led to adaptations and variations but Sephardi ḥazzanim (cantors) succeeded in passing their repertoire down to succeeding generations. These tunes are still identified with the American Sephardi tradition. . . .
I believe that even those who actively dislike the Grateful Dead, or always happily ignored them, will find ideas worth considering in this comparison. “I guess they can’t revoke your soul for trying.” – Robert Hunter Some years ago, my husband and I dragged our kids (then 11 and 13) to see the Dead. The kids asked why the folks in the parking lot were staying outside, even though the concert was scheduled to start: “How do they know when to go inside? Or, is the band waiting for them?” My husband, a non-Jew, noted that he was often similarly mystified by worship services: “How do they know when to it’s time for….?” Not long after that I was part of a small havurah gathering waiting for a minyan, and we got to talking about when we might expect various regulars. This started me thinking about when, how and why Jews show up to services. I realized my husband’s sentiment about worship services – like my kids befuddlement about Dead concerts – is shared by many Jews, even regular service-goers…. Over the years, I’ve been thinking about ways that Jewish text and worship and the Grateful Dead parallel one another. The result is this chart. . . .
The earliest artifacts recording Jewish liturgy (or for that matter any Hebrew formulation found in the Torah) are two small silver amulets, discovered in 1979 by Israeli archaeologist Gabriel Barkay. He discovered the amulets in a burial chamber while excavating in Ketef Hinnom, a section of the Hinnom Valley south of Jerusalem’s Old City. The inscriptions on these amulets conclude with parts of the Birkat Kohanim (Priestly Blessing), the three-part blessing in which the Kohanim are instructed to bless the people of Israel in Numbers 6:22-27. The script in the amulets dates them approximately to the reign of King Yoshiyahu (late 7th or early 6th century BCE) predating the Nash papyrus, and the earliest of the Dead Sea Scrolls by four centuries. . . .
Every year on Yom ha-Atzmaut I feel a certain sense of frustration about its liturgy, and the failure of Religious Zionism to shape the holiday into one that would make a clear and definite religious statement. The “festive” prayer for Yom ha-Atzmaut is a hotchpotch of Yom Kippur, Kabbalat Shabbat, Shabbat Mevarkhim, and Pesaḥ. One gets a sense that there is an avoidance of hard issues. Even such a simple thing as saying Hallel with a blessing is not yet self-evident, but a subject of constant debate. Every year, there seem to be more leading rabbis, who adopt crypto-Ḥaredi stances, issuing pronunciamentos as to why one must not enter into the doubt of saying a brakha levatala, an unnecessary blessing, in this case. (As I was typing these words, I was interrupted by a phone call from a friend with this very question!) Bimhila mikvodam (no affront to the honor due them intended), but what on earth do they think the Talmud is talking about when it says that “On every occasion that Israel are in distress and then delivered, they are to recite the Hallel” (Pesaḥim 116a), if not the likes of Yom ha-Atzmaut? . . .
Jacob b. Jehuda of London, the author of that valuable contribution to the literary side of Anglo-Jewish history, the Talmudical compendium Etz Chaim, so providentially rescued and preserved for us, never dreamt, when he noted down, in the year 1287, the Ritual and Agada of the Seder Nights according to English usage, that he was fixing a permanent picture of what was doomed to destruction, and was recording not a mere portion of the liturgy, but a page of Jewish history. Faithfully copying his great prototype, Maimonides, the English Chazan also embodied in his work the texts of the Recitations on the Seder Nights in the form customary among his countrymen, and appended the correlated rites according to Minhag England. . . .
We are grateful to Amit Gvaryahu for sharing his sourcesheets for his Siddur class at Yeshivat Hadar’s 90@190 Open Beit Midrash this past summer 5771/2011, and for sharing his translations with a CC-BY-SA 3.0 Unported license. . . .
In Israel, the Reform movement, which is called the Israeli Movement for Progressive Judaism (IMPJ), dates back to the 1950s, but a serious concern for women’s role in liturgy is a relatively recent development, namely since the last decade of the 20st century. This paper examines the modes of liturgical change with regard to the role and presentation of women in Jewish ritual and worship within Israel: what they do to regain their voice[s] through worship and how they are depicted in contemporary liturgies. Today, gender-related issues are among the most heated issues faced by contemporary liberal, non-Orthodox Jews; discussions on the subject dominate the religious and academic spheres as well as the socio-cultural arena. This paper is based upon the assumption that the Israeli case is a distinct one compared to the North American treatment of gender in the liturgy, because Hebrew is not only the liturgical language, but also the vernacular for Israeli Jews. This makes it much harder to change liturgy, as it is perceived as holy matter. Another unique aspect of the Israeli liberal liturgy is the fact that it operates in a rather conservative religious environment: both Orthodox and secular Jews in Israel are less prone to experimental approaches toward liturgy and ritual. . . .
Once upon a time, according to the Mishnah, it was the nusaḥ (liturgical tradition) of the Cohanim in the Bet Hamikdash[ref]Priests of the Temple in Jerusalem[/ref] for the Ten Commandments to be read prior to the Sh’ma. . . .
Contributor(s): Aharon N. Varady
Categories:  Essays, Documents, Art, and Craft, Liturgical traditions | Tags:  Joseph Heinemann, informatics, liturgical rites, regional custom, נוסח, נוסחות, nusḥa'ot 
Maps showing the relationship between the nusḥaot are quite helpful to us. The Open Siddur Project is seeking to digitize all the extant nusḥaot witnessed in siddurim and other manuscripts, in order to show the evolution of individual prayers and blessings. This will helpfully represent at least the textual diversity of Jewish spiritual expression in the many geographically dispersed Jewish communities over the past three thousand years. I also hope that representing this diversity in t’fillah will be an inspiration to individuals engaging in davvening as an intellectually engaged and creative discourse speaking across generations. The extent to which we’ll be able to realize this vision will be limited to how many source texts we’ll be able to identify, transcribe, and share with open standards and free culture licenses. Seeing that the design of the map appearing in Hoffman’s book left much to be desired, I redesigned it for clarity while adding some additional nusḥaot. I hope that the following map based on Joseph Heinemann’s work will help inspire fellow researchers to contribute to this project. . . .
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