Folc Harp treatment of bridge pins is simple.  There aren't any.  For all the
Folc harps the string goes directly from the tuning pin to the grommet or shoe
in the soundboard.

Bridge pins serve two purposes.  First the player needn't pay close attention to
how the string winds around the tuning pin.  For harps without bridge pins,
the player must make sure the string stays in line with the other strings and
also that the last winding just before the string leaves the pin is not snug up
against the previous winding else it may dull the sound of the string.  In
replacing a string this is done by shoving the string a little toward the wood on
the last winding so that it is not touching the previous winding and ends up in
a position that is in line with the rest of the strings.   If the harp is equipped
with bridge pins, the player needn't be concerned, the bridge pin makes sure
the string clears the neck cleanly and keeps it perfectly in line.
Tuning and playing a harp is an ambitious undertaking, especially in the case of the wire strung harps.  On the treble strings
the pin must rotate scarcely one degree to raise the pitch half a step, say, from F to F#.  It takes some practice, attention, and
finesse to do this cleanly and consistently.  With time it becomes second nature and it is quite a thing to watch a long time
wire harp player move the hand inperceptively and hear the string come exactly up to pitch.  The thinking in the design of
Folc harps is that if the player can learn to do this, the player will certainly have no difficulty positioning the strings correctly.
The second reason for bridge pins is that they keep the strings aligned just right for sharping levers to work well.  Since Folc
harps mean to appeal to a rather pronounced diatonic tradition, accommodating sharping levers is not a concern.  
Bridge pins are a particular problem for harps strung with bronze wire.  As the string is tuned, it stretches a bit and so it rubs
over the bridge pin and weakens at that point.  The same is true with sharping levers, any time a wire string is moving against
a fixed object, it weakens a little bit.  As wire harps are becoming more and more prolific and music and methods are being
developed for them, I have been glad to see that sharping levers and bridge pins seem to be losing popularity.  
Since the absence of bridge pins seems to little impede the players of so many wire strung harps, it impedes the playing of
music on nylon strings no worse.