Whether spoken, sung, read or whispered, in loud cries or in a fixed rhythm, with a waving body and stomping feet, in mute intention or spontaneous recitation – At its core, prayer is a collective, body-centered human behavior. The act of prayer, when performed in congregation, indicates a shared space in which the whispers of participants’ hearts and deepest wishes are woven together, as a power of consciousness driving their intentions forward.

A house of worship, in its various forms, provides space for this collective action. Its borders – both the physical and metaphysical  – are utilized as a vessel and architectural amplifier, directing the connected consciousnesses of those gathered within, reflecting the realm of their values, and their social, organizational world.

Musician and vocal artist Michal Oppenheim’s work researches and creates parcipatory models of choral singing. In her latest piece she approaches the physical and lingual structure of prayer, as well as the acoustic architecture characterizing houses of worship – focusing on the role of female prayer-leading and cantorship within it.

As part of the creative process, Oppenheim joined forces with female cantors, rabbis and congregation leaders from all over the country – women whose vocation combines community, religion and feminism. Their views and actions challenge the widely accepted perceptions of their personal world and realm of family, redefining it in an activist, public and political fashion – in the midst of their communities.

At the heart of the exhibition stands a musical composition created by Oppenheim – A contemporary prayer dedicated to four female biblical figures: Eve, Miriam, Ruth and Hamutal – who serve as models and sources of inspiration. To perform the piece, which was fitted with a system of biblical tropes, a ‘minyan’ of ten prayer-leading women was invited, reflecting a wide range of voices, identities, religious factions, and musical backgrounds. Oppenheim’s work addresses questions that rose from the encounter with this group; the considerations stemming from the complicated relationship between the body of prayer and the bodies of women performing it; the balance of power between concentration, intention, spiritual elevation and pleasure, which are all part of the cantor’s experience.

The exhibition space was designed to correspond with the structural principles of synagogues, and reflect the connection to the praying body: The cantor’s podium, from which the leaders’ voices can be heard; the pews, which seat listeners with their feet touching the floor – illustrating the connection between body and spirit. The musical piece itself was created to be accessible to all, allowing active participation by the audience, and inviting them to join in, traversing the line between the role of prayer leader and responding congregation.

Oneg Rabot is an attempt to sketch the outline of a future house of worship in sound and form, where we as people are invited to gather in the abstract act of human prayer. It is a peek into a place not yet created – a vocal, parcipatory, interactive space that does not revolve around one single center, but is rather led by the voices of many. It is an echo chamber for those who dare to be heard and lead with the sound of their prayer.