“Sacred Harp is not historical reenactment!” You can find this statement cried loud and long online. Notice this example:
“…the practice of singing is not a historical reenactment, but a gathering of enthusiasts. Over the last ten years, Sacred Harp has gained popularity in Europe with singing groups establishing themselves in many countries. The spirit of Sacred Harp is primarily that of communion in song, and while it has religious and local origins, today the Sacred Harp is international and open to all. In the cultural porosity of our times, Sacred Harp has paved its way to become a universal and inclusive singing practice. All voices and ages can sing the Sacred Harp.”
“*The religiosity of Sacred Harp, as in gospel singing, is an integral part of the origins of the tradition and gives vibrancy through customs that remain true to the original practice (the day opens with a blessing, the texts are from a liturgical repertoire etc.). However, the practice considers itself secular; atheists and members of all faiths are welcome and celebrated, as are people of all ages and social backgrounds. Everyone is free to define the spirituality that he or she wishes to find. This is what makes the practice of Sacred Harp a unique space to mix and meet people of all denominations, generations, and backgrounds in a climate of tolerance and openness.”[i]
Funny how no one ever thought about or discussed Sacred Harp being historical reenactment until it became filled with folks who don’t believe the words of the songs they are singing. Then it became a necessary “thing” to carefully explain they were not doing historical reenactment! Why would anyone think they were doing so in the first place? Because they do not believe what they are singing.
Historical re-enactment and living history are immersive activities/gatherings of individuals and/or groups that perform accurate recreations (from music to war). They do research to confirm accuracy – re-enactors often conduct extensive research in order to replicate the details of their activity. Many non-traditional non-Christian Sacred Harp singers do just that.
Singings ran by unbelievers re-enact the sitting in the square, opening & closing with prayer, the memorial lesson, the way to lead/keep time, and so on. I have observed that non-traditional singers are often the ones who are the most fastidious and fussy in their attempts to re-enact the traditions accurately and vociferously condemn any perceived deviation from their way of re-enacting the tradition.[ii] Why? Because their sense of being part of the Sacred Harp tradition is found not in the Christian tradition of Sacred Harp, but in the accurate recreation of the outward motions.[iii]
For atheists, non-Christians, and those who otherwise reject the meaning of the hymns, Sacred Harp is supposedly not re-enactment for them because the singings have historical continuity. Certainly, singing from The Sacred Harp has historical continuity, but without a genuine religious feeling, some continuity interacting with the text and not just the music, there must necessarily be some element of historical re-enactment by non-Christian Sacred Harp singers – no matter how much they enjoy the practice or loudly and vociferously re-enactment is denied.
No, Sacred Harp is not just historical re-enactment for the non-traditional non-Christian singer.[iv] Yes, there is an element of refuge in historical re-enactment for the non-traditional non-Christian singer. They imply it in many camouflaged ways. Why not just be straightforward and say so clearly? Then we can move on to the next issue.
[ii] “Orthopraxic obsessions in matters of musical performance also sideline the issue of authentic feeling in a way that frustrates many singers. Some suggest that no matter how perfectly one reproduces the musical characteristics of an eighteenth century of Civil War era performance, singing religious music without religious faith is not historically accurate…” (Traveling Home, Kiri Miller, page 185). Miller goes on to discuss an online debate about Sacred Harp historical re-enactment, including whether non-Christian singers were “firing blanks.”
[iii] This is not to say that Sacred Harp does not touch these folks beyond the outward formality. Obviously, for many/most it does. However, their sense of being part of the tradition is nevertheless grounded in being able to recreate what traditional Christian singers have received supernaturally. Sacred Harp singers who are not Christians cannot recreate the internal belief and therefore must recreate the external trappings. Often the leaders of the non-traditional singers become obsessed with exactitude –the sixth must always be raised, all songs much meet our exacting standards of dispersed harmony, and so on. It is my opinion that this brand of external formality played some part in what songs were added to and what songs were removed from the 2025 edition of The Sacred Harp.
[iv] Again, I acknowledge “not just” historical re-enactment, but assert yes there “is some” historical re-enactment.
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