This is how I described programming the festival to a fellow arts organiser last week. "I know what it's like," she laughed. I've also heard the process described as "trying to complete a jigsaw puzzle - with all the pieces face down".

World Sacred Music is a small festival compared with most, which should make it easy to programme, you would think. Except that in a limited number of events, spread over just one week, we need to ensure that: all (or at least most) of the acts fit the theme (this year it's 'South'); we represent a spread of sacred traditions; there is a diverse range of nationalities and cultures; all the events are accessible and as inclusive as we can make them; we meet - or exceed - the expectations of our loyal audience and draw in new audiences; we maintain (or raise) standards throughout; we can fund it; we can sell it; and, most importantly, we hold true to the aims of the Festival.

Add to that that we are working with artists from different countries, from different musical genres (which each have their own cultures), and on a small budget. Plus we must work with the UK Border Agency to bring artists into the country; with the Foreign Entertainers Unit at the tax office; with PRS who collect royalties on behalf of artists; with agents and contracts; with the varying needs of the venues - and so on and so on.

I'm not complaining. It's a privilege to work with such inspiring and unique musicians and a great thrill to bring them to a wider audience, who otherwise might not get the chance to experience them or the style of music they perform.

It's just that juggling jelly might be easier.