This article sheds light on public performances as important yet neglected sites for social entrepreneurship’s discursive expansion as a fashionable model for social transformation. It approaches the strategic considerations behind presentations aimed at ‘enchanting’ social entrepreneurship through sophisticated investments in spiritual, aesthetic and bodily involvement, and the impressive staging of Muhammad Yunus as a global hero. On a first analytical layer, these ethnographic insights broaden the explanatory basis for social entrepreneurship’s rising popularity. In academic literature, its recent prominence is either accepted as a given fact or critically explored through the theoretical lens of language effects, while modes of conviction that invest in the ‘extra-textual’ are largely ignored. Addressing this gap, the article portrays how organisational actors charged presentations with aesthetic significance, emotional fervour, spiritual dynamism and sensual pleasure to produce holistic experiences that allow people to connect the concept of social entrepreneurship to a felt sense of being-in-the-world. On a second layer, the analysis problematises the enchantment debate’s tendency to construct a secular–spiritual binary, that is, to perceive enchantment as arising either from powerful acts of managerial manipulation or from a deeply human desire to fill a religious void. Complicating this distinction, the article frames enchantment work in the social entrepreneurship field as an ambiguous ‘dance’ between the secular and the sacred—a paradoxical activity of amalgamating neo-rational considerations with the spiritualised pursuit of a global vision.