between the type of dance and music—and obviously the occasion—whether it

be a South American samba, an African kantata or a European waltz. The

characteristically slow, sober and sombre style of orthodox or mainstream church

music and its apparent disunion with dance would appear to derive from the

recognised the problem and propounded the theory of ‘bodiless music’,

but, contrary to popular belief, this did not stem from a conservative Eurocentric

bias. This article explains that Pentecostalism, in contrast to the medieval

phenomenon of ‘bodiless music’, broadly features a lively, exuberant and multiinstrumental

also biblical. The Pentecostal exuberant musicality has become an incentive for

mostly younger populations, and vibrant music has become a popular marketable

product in the competition for customers within the unregulated religious

economy.