Finding the Harmony Between Sacred and Secular
Folk festivals often celebrate traditions that have deep spiritual or religious origins. From Appalachian gospel hymns to Sufi devotional songs, many folk arts carry a sacred heritage. The challenge for festival producers is to honour these sacred roots in the program without alienating secular audiences. Successful folk festivals around the world have shown it’s possible to acknowledge spiritual traditions while remaining inclusive and welcoming to all (www.charismamovement.com). Music can indeed be a universal language that transcends ethnicity, language, or religion (www.charismamovement.com), and a thoughtful balance in programming reinforces that unity.
Seasoned festival organizers know that blending interfaith content with a secular festival vibe requires sensitivity, planning, and open communication. By drawing on decades of hard-earned lessons, from intimate community folk gatherings to massive international festivals, one can craft a lineup that respects sacred traditions without turning the event into a religious forum. The key is to invite understanding and participation on each attendee’s comfort level. In this guide, we break down practical strategies – with real examples and cautionary tales – to help the next generation of folk festival producers maintain that delicate harmony between the sacred and the secular.
Acknowledge Sacred Roots Without Proselytizing
Many folk music and dance traditions trace back to ceremonies of faith – whether it’s a Celtic harvest song with pagan origins, a blues tune rooted in gospel, or an indigenous dance honouring ancestral spirits. Acknowledging these sacred roots gives authenticity and depth to your programming. Let your audience know the cultural or spiritual background of a performance – this context enriches their experience and shows respect for the source community. For example, when hosting a traditional gospel choir, an MC might introduce it as “rooted in African-American church traditions that have influenced folk and blues”, giving credit to its sacred origin without implying that the audience must share the faith.
What to avoid is any sense of proselytizing or religious pressure during the festival. All performers and speakers should understand that their role is to share art and heritage, not to preach. You can communicate this expectation when booking artists with overtly religious content. Most will gladly frame their performance as cultural expression. For instance, Maggie Ingram & the Ingramettes, a legendary gospel ensemble from Virginia, frequently perform at secular folk festivals and present their songs as uplifting heritage music (ncta-usa.org). They bring the joyful spirit of gospel to the stage but stop short of sermonizing, making sure the audience feels inspired by the music rather than preached at. Similarly, the Fez Festival of World Sacred Music in Morocco – founded by Faouzi Skali in 1994 – showcases sacred music from many faiths (from whirling dervishes to church choirs) in an artistic context (moroccoshinydays.medium.com). The festival highlights each tradition’s spiritual roots as part of global heritage, while keeping performances focused on art, not worship. The United Nations even recognized the Fez Festival for contributing to dialogue between civilizations (moroccoshinydays.medium.com) – a testament to how respectful presentation of sacred arts can foster understanding without crossing into proselytizing.
To implement this in your festival:
– Give context: In program notes or on-stage intros, mention the spiritual origin of a piece (e.g. “a traditional Sufi devotional song for peace”), but use neutral language that educates rather than persuades.
– Train your MCs and hosts to be respectful and factual. They should feel comfortable acknowledging, for example, that a dance comes from a Hindu temple tradition, but they shouldn’t venture into theological statements. If an artist tends to speak about their faith on stage, work with them beforehand on a friendly, informational approach.
– Set performer guidelines: It’s fair to ask religious groups to avoid altar calls, extended prayers, or invitations to convert during a folk festival set. Most artists will understand the need to suit a broad audience. Emphasize that everyone in the crowd should feel included in the performance, regardless of belief.
Offer Variety So No One Feels Excluded
A diverse lineup is one of the strongest ways to signal that all are welcome. Folk festivals by nature celebrate diversity – of musical styles, cultures, and communities. Ensure your programming spans a variety of traditions so that no single faith or worldview dominates the narrative. By offering a rich mix of sacred and secular acts, you make it more likely that every attendee finds something to connect with and no one’s identity feels out of place.
Many renowned festivals have embraced this ethos. The World of Music, Arts and Dance (WOMAD) festival, for example, was founded with a mission to celebrate the world’s many forms of music and dance without boundaries (en.wikipedia.org). Its ethos is “to be embracing, inspiring and outward-looking… enthusiastic about a world that has no boundaries in its ability to communicate through music” (en.wikipedia.org). On a WOMAD stage, you might hear a ?Celtic folk band followed by a Sufi qawwali ensemble, then a Caribbean drumming troupe – a tapestry in which everyone’s culture has a place. When curating your folk festival, think globally and inclusively in a similar way. If you’re featuring a set of Jewish klezmer folk songs, consider also booking, say, an African gospel choir, a Native American pow-wow drum group, or a secular singer-songwriter who bridges cultures. The goal is a balance where multiple heritages shine, so attendees from different backgrounds each get moments of recognition and everyone can also explore something new.
Diversity isn’t just about performer selection; it can also mean offering a variety of experiences. Perhaps one stage focuses on purely secular folk-rock, while another highlights spiritual or roots revival music. You could schedule an upbeat dance band at the same time as a sacred harp singing circle, giving the audience options – no one is forced into a spiritual atmosphere, and no one is denied it either. Scheduling parallel content (one secular, one sacred-leaning) is a smart way to ensure comfort. For example, at some North American folk festivals, a Sunday morning “gospel workshop” might run on one stage, while a kids’ concert or a songwriting circle (secular content) runs on another. Attendees self-select where they feel most comfortable, and the festival caters to both preferences.
Moreover, including a range of traditions implicitly creates an interfaith dialogue through art. The Jodhpur RIFF (Rajasthan International Folk Festival) in India is known for presenting music beyond classifications and divides (www.thehindu.com) – blurring lines between not only genres but also faith traditions. In one evening at Jodhpur RIFF you might witness Sufi chants, Hindu bhajans, and even a Western folk-fusion act sharing the bill. In fact, a few years ago the festival featured The Sufi Gospel Project, a collaboration blending Indian bhakti devotional songs with Western gospel and Sufi music into one seamless set (www.esamskriti.com). Such programming sends a powerful message: common ground can be found in music, despite different origins.
How do you achieve this variety on a practical level? One tip is to engage a diverse planning team or advisory committee during programming. Tapping community representatives can reveal rich talent pools you might miss on your own. For instance, the National Folk Festival in the United States (a touring multi-cultural folk festival) forms a local Programming Advisory Committee in each host city, composed of members from varied cultural backgrounds (ncta-usa.org). This not only helps include minority traditions in the lineup, but also builds trust with those communities. By inviting advisers from the local Jewish folk dance club, the Sikh gurdwara choir, the Indigenous cultural center, etc., you’ll gather perspectives to shape a festival where no group feels overlooked. The result of such inclusive programming is often a dynamic program that can swing from meditative sacred music to raucous secular folk jams, all under the same festival banner.
A diverse program also means attendees will experience something outside their own culture – which is exactly the kind of enriching adventure folk festivals excel at providing. Variety prevents the festival from feeling like it caters only to a devout crowd or only to a non-religious crowd; instead it becomes a welcoming space of discovery for all. As a bonus, a broad program can broaden your marketing appeal – you can reach out to church groups, cultural associations, and secular music fans alike with different parts of the lineup.
Mark Content Clearly for Comfort and Consent
One of the most important inclusivity practices is transparency about what your audience can expect from each event or performance. Clearly marking religious or spiritual content in your festival program empowers attendees to make informed choices about their comfort level. Just as events might carry notices about adult language or strobe lighting, consider content notes for spiritually themed programming. This shows respect for your audience’s varied backgrounds and allows everyone to participate with consent.
Pragmatically, this could mean adding a brief tag or description in schedules and on signage. For example:
- “Workshop: Sacred Harp Singing (Traditional Christian hymnal singing) – Note: participatory singing of 1800s-era spiritual songs.”
- “Performance: Morning Raga Meditation – Note: Indian classical music with spiritual themes. Audience welcome to listen quietly or join in simple chants.”
- “Demonstration: M?ori Haka – Note: includes cultural warrior cries and references to M?ori spiritual beliefs.”
By labeling content in this way, no one is caught off guard. A non-religious person can decide to skip the meditation session if that’s not their cup of tea, or at least prepare themselves for a spiritual tone. Likewise, a religious attendee can choose whether to witness another faith’s ritual or not, without feeling it was sprung on them. This approach was exemplified by festivals such as Australia’s Woodford Folk Festival, which offers a dedicated “Folklorica” program featuring global sacred and cultural performances, all clearly described in the program so audiences can opt in or out. If your festival includes venues like actual churches or temples (which is sometimes the case for folk festival workshops or small concerts), identify those venues clearly in the schedule and explain what the setting will be. For instance, “Venue: St. Stephen’s Church (acoustic concert in a historic chapel) – secular event in a sacred space.” This prepares attendees for the environment, and they can choose based on their comfort.
Marking content also means communicating how attendees are expected to engage. If a performance will invite the crowd to participate in a prayer, chant or dance, let people know in advance. Use phrasing like “audience participation optional.” Consent is key – festival-goers should feel in control of their experience. An example might be a Native American smudging ceremony planned as part of an opening welcome. In your program and announcements, clarify: “Opening Blessing: A traditional Lakota smudging ceremony will be performed to bless the grounds (attendees may observe quietly; smoke will be present; participation is voluntary).” This level of detail ensures those who might be sensitive to incense smoke for health or spiritual reasons are aware and can stand further back or skip that portion. It also reassures people that they won’t inadvertently disrespect someone’s religion or be pressured to join in beyond their comfort.
To implement this effectively:
– Coordinate with performers: Discuss with artists beforehand if their set involves any call-and-response, altar call, or interactive element tied to belief. Work out language to explain that to the audience. Most performers will appreciate you helping set the right expectations, so the crowd that shows up is receptive and comfortable.
– Use signage at venues: At the entrance to a tent or stage hosting a spiritual-themed event, a simple sign could read “Comfort Note: This session includes discussion of personal faith experiences” or “Heads-up: Sacred chanting involved – feel free to respectfully observe or participate.” This way even those who missed the program note are informed.
– Empower staff and volunteers: Make sure your festival volunteers and staff are briefed about these content notes, so they can gently guide attendees. For example, if someone wanders into a workshop not realizing it’s religious in nature and looks uncomfortable, volunteers can quietly mention, “This is a devotional song session – if you’d prefer something else, Stage 2 has a dance going on right now.” This kind of proactive courtesy can greatly enhance an attendee’s feeling of safety and respect.
By clearly marking content and expectations, you demonstrate that your festival values consent and personal comfort. Attendees are more likely to try new cultural experiences if they trust you to inform them honestly. It builds goodwill and helps avoid situations where someone unexpectedly finds themselves in the midst of what feels like a church service or a cultural ritual they weren’t ready for. Instead, everyone makes a choice to be there, which means they arrive with an open mind and heart.
Invite Dialogue, Not Debate
One of the beauties of folk festivals is the conversations they spark – between artists and audience, between people of different walks of life. When your programming touches on faith and culture, it’s wise to facilitate dialogue in a positive, educational way and steer clear of anything that could devolve into debate or conflict. Festivals are ideal grounds for sharing and learning, but not for determining whose belief is “right.” As a festival producer, you set the tone.
A great practice is to create opportunities for cultural exchange. Consider hosting artist Q&As, panel discussions, or storytelling sessions that allow audiences to ask questions about the traditions behind the performances. The key is to structure these as dialogues – moderated, respectful, and focused on understanding. For example, if your festival has featured a variety of sacred music acts, you could organize a daytime panel titled “Sacred Sounds: The Role of Music in Our Traditions.” Invite a few artists from different backgrounds (say, a gospel singer, a Buddhist monk who does chants, and a folk singer from a First Nations community) to chat about what their music means to them. Have a skilled moderator (perhaps a local radio host or a scholar of ethnomusicology) keep the conversation flowing and constructive. Audience members can be encouraged to submit questions in writing or via an app, which the moderator can select to avoid any confrontational or off-topic rants.
The environment you create should be one of curiosity and mutual respect. Set ground rules at the start of any discussion: no proselytizing (from either panelists or audience), no disparaging any tradition. Frame questions around personal experience and cultural context rather than doctrine. For instance, ask “How does singing this music make you feel connected to your community?” rather than “What do you believe theologically?” This keeps it in the realm of sharing stories and knowledge, not debating theology.
Some festivals include informal “meet the artist” gatherings – perhaps at a cultural expo booth or an artist village – where festival-goers can chat one-on-one with performers. If you do this, brief the artists that people might inquire about their religious customs, and encourage them to answer openly but kindly, and to avoid any confrontational or overly preachy responses. Most artists love the chance to talk about their culture; if the festival stresses the goal is cultural exchange, not conversion, those interactions usually stay positive and enlightening for both sides.
You can also invite dialogue through creative programming. Workshops that involve participation can be eye-opening in a gentle way. A drum circle led by West African griots might incorporate an explanation of how certain rhythms are used in spiritual ceremonies, then immediately teach a simple rhythm everyone can drum together. The act of doing something collectively leaves little room for argument – it becomes about shared human experience. In a similar vein, some festivals have hosted multi-faith jams: imagine a jam session where a Jewish klezmer fiddler, a Sufi tabla player, and a secular Appalachian banjoist improvise together. The fusion of sounds speaks volumes about harmony without a word of debate. After such a session, you might facilitate a short reflection where each artist explains what they enjoyed learning from the others. This invites the audience into a dialogue about commonalities (“we all have songs for joy, for mourning, etc.”) in a non-preachy manner.
Above all, if any sensitive issues arise, keep the debate out of the public forum. Occasionally an audience member might try to challenge a performer’s beliefs on the mic – don’t let it escalate. Train moderators or MCs to gracefully thank them and pivot to the next question or to politely remind everyone, “We’re here to share in the music and stories, not to debate beliefs.” The vast majority of attendees will appreciate this protective stance. They came for the music, community, and learning – not a religious argument. By actively inviting dialogue grounded in respect, you uphold an environment where people feel safe to explore beyond their own perspective. This approach was summed up beautifully by organizers of a recent interfaith music festival, who noted that opening with emotion and shared humanity, rather than argument, set a welcoming tone (www.interfaithamerica.org) (www.interfaithamerica.org). In that event, a concert blending Somali blues and Black gospel music brought the crowd together in joy – “the evening’s design emphasized shared humanity over shared belief,” as the festival director reflected (www.interfaithamerica.org). Use that philosophy in your folk festival: let the art and the human stories do the talking, not debates.
Keep Stages Welcoming to All
From the main stage to the smallest workshop tent, every space at your festival should send the message that everyone belongs. An attendee should never feel that they are an outsider on account of their personal faith (or lack thereof). Achieving this goes beyond the lineup – it’s also about stage management, presentation, and festival culture. Here are a few strategies to ensure all stages remain welcoming:
- Inclusive Stage Announcements: Coach your emcees and stage hosts to use inclusive language. For example, instead of an MC saying “We’re blessed to have you all worshipping with us this morning,” they could say “We’re delighted to have you share in this musical tradition this morning.” Subtle difference, big impact. The latter phrasing invites everyone in, whether they identify with the religious aspect or are just there for the music. Remind MCs to avoid assuming the crowd’s beliefs. Phrases like “this next song is a prayer, feel free to listen in your own way” both acknowledge the song’s nature and give permission for diverse forms of appreciation.
- Neutral and Welcoming Decor: If you have control over stage or venue decor, strive for a setup that honours a performance’s roots without making others feel unwelcome. For instance, if a choir sings in front of a large religious banner that’s not relevant to all, some in the audience could feel out of place. You might instead use art or lighting that evokes the spirit of the tradition (colors, patterns) without explicit religious symbols, unless those symbols are part of the performance itself. It’s a fine line – obviously, if a Sikh temple troupe performs, they might bring a Khanda symbol or if a Catholic folk ensemble performs they might have a cross on an instrument case. That’s okay – those are authentic to the artists. But the festival’s own dressing of the stage can remain neutral and inviting. Think world-culture flags, nature motifs, or festival branding that celebrates diversity.
- Accessible Rituals: Many festivals incorporate a ceremonial element or blessing at the start or end of the event (like a land acknowledgment by Indigenous elders or a moment of silence for peace). These can set a beautiful tone if done with inclusivity in mind. Work closely with whoever is leading a ritual to keep the language welcoming. For example, an opening blessing could invoke general goodwill and togetherness rather than specific doctrine, or if it is specific (as many Indigenous blessings rightly are), it should be presented as one community offering their grace to all present. Encourage the person offering the blessing to briefly explain its significance and explicitly welcome everyone to share the moment however they feel comfortable. Often, wording like “please join us in a moment of reflection or prayer as per your own tradition” opens the door for all to mentally participate in their own way.
- No Segregation of Audiences: Ensure that there is never a sense of segregating attendees by faith. For instance, don’t reserve seating areas for members of a certain religion, or conversely, don’t require anyone to declare or prove their faith to join an activity. This seems obvious, but it’s worth mentioning. All festival activities (aside from perhaps closed workshops intended for specific cultural group members as a safe space, which are rare in public festivals) should be open to anyone interested. Even if a performance is of a particular religious tradition, any attendee who is respectful and curious should feel free to attend. Make sure your festival staff projects warmth to all who enter a venue, greeting everyone equally.
- Responding to Discomfort: Despite best efforts, you might have attendees who feel uneasy about something – perhaps a conservative attendee is uncomfortable with a pagan folk dance, or a non-religious attendee feels a performer’s testimonial went on too long. Train your crew to handle these situations with empathy. They can listen to the concern and frame it as, “We understand not every performance will resonate with everyone. We hope you found something else today that you loved.” If necessary, offer an alternative (e.g., “If that wasn’t for you, there’s a great secular act on the other stage right now you might enjoy.”). Most people just want to be heard. Handling even complaints graciously shows onlookers that the festival truly aims to welcome all viewpoints.
Another aspect of keeping stages welcoming is representation. Over the long term, strive for your festival to have representation among staff, crew, and performers that roughly reflects the diversity of your audience (and the wider community). When attendees regularly see people of their own background on stage and behind the scenes, it reinforces that feeling of belonging. If your festival is in a multicultural region and yet only books, say, Christian Americana acts every year, some groups may quietly drift away. On the other hand, if you make a visible effort to rotate through different cultural spotlights – maybe one year you feature a Celtic folk mass, next year a set of Buddhist temple musicians, alongside plenty of secular music each time – audiences notice and appreciate the inclusivity.
Finally, celebrate the fact that folk festivals themselves often become a kind of secular sacred space – a place where people unite in song and community spirit. Embrace that role. It’s possible to honour the sacred origins of folk arts while cultivating a shared festival culture that is wholly welcoming. Many attendees describe their favorite folk festival as “church for folkies” (with a wink) – meaning it’s where they go to feel uplifted and connected. You, as the producer, are the steward of that special atmosphere. By keeping an eye on language, environment, and equal access for all, you ensure that the only thing a festival-goer needs to bring is their love of music and culture – no particular faith required.
Key Takeaways
- Celebrate sacred origins as culture, not doctrine: When programming folk festivals, include music and arts with spiritual roots but frame them as cultural heritage. Honour the meaning behind traditions (acknowledge that a song is a gospel hymn or a dance is a sabbath ritual) without urging the audience to adopt the beliefs. This enriches the festival experience and shows respect, without crossing into proselytizing.
- Program diverse traditions to include everyone: Aim for a lineup that reflects a variety of faiths and secular styles so that no demographic feels left out. Balance a gospel choir with a secular folk band, balance a Sufi drumming act with a Celtic fiddle troupe, etc. Variety ensures each attendee finds something familiar and something new. Engaging advisors from different communities can help achieve this mix and broaden the festival’s appeal.
- Be transparent about content for informed consent: Clearly label any performances or activities that involve religious content, themes, or participation. Provide program notes or signage like “devotional music” or “spiritual workshop – optional participation” so attendees can choose what they are comfortable with. No one should ever be unintentionally thrust into a religious experience at your festival – give people the info they need to opt in or out.
- Foster learning and dialogue, avoid contentious debate: Use Q&As, panels, and workshops to invite questions and cultural exchange between artists and audiences. Keep these interactions respectful and focused on sharing stories and musical passion, not arguing beliefs. A moderated, educational dialogue can transform curiosity into connection, whereas debates can create division. Set the tone that your festival is a place to learn from each other, not to convert or convince.
- Ensure every stage and space feels welcoming: From the language your MCs use to the way you arrange venues, make sure nothing implicitly excludes any group. Avoid assumptions that the crowd shares one faith. Embrace inclusive greetings and neutral stage decor. Allow everyone – religious or not – to enjoy every show in their own way. When sensitive moments (like blessings or prayers) occur, present them in a universal, inviting manner. Overall, cultivate a festival atmosphere where the only “religion” is respect and a love of folk culture.
- Learn from others and continuously improve: Look at successful inclusive festivals (e.g. global folk events like Rainforest World Music Festival or multi-faith music gatherings) for inspiration. Notice how they schedule diverse acts and handle introductions. Solicit feedback from your audience and crew about what made them feel welcome or uneasy, and adjust future programming accordingly. Balancing interfaith content with secular enjoyment is an evolving art – stay flexible, humble, and willing to learn with each edition of your festival.
By keeping these principles in mind, a folk festival producer can create an event that acknowledges the sacred threads woven into folk traditions without making anyone feel excluded. In doing so, you carry forward the true spirit of folk heritage – one that cherishes roots and community, invites everyone to the circle, and finds unity in our diverse human story. When done right, your festival can be a place where a devout gospel singer and a nonreligious folk dancer share a stage, each enriching the other’s experience, and the entire crowd feels the joy. That harmony between interfaith understanding and secular inclusivity is not just possible – it’s the magic that great folk festivals strive for and achieve.
25th August 2025