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Fifth Month
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5th Passage Hand
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Slave Dance



I am fond of slave dances. It is hard for a woman to be more beautiful than when she dances her beauty as a slave before masters.
Explorers of Gor     Book 13     Pages 342 - 343


"Dance," I told Feiqa.
"I do not know how to dance, Master," she moaned.
"In every female there is a dancer," I said.
Mercenaries of Gor     Book 21     Page 60


Perhaps he will have her taught the kalika or dance, dance such as is appropriate for such as she, slave dance.
Conspirators of Gor     Book 31     Page 110



It is not meant to be anything other than the facts of the matter.
Arrive at your own conclusions.

I wish you well,
Fogaban


I have not attempted to show or describe from the Books every time a girl danced, and certainly not every reference to the word dance.

Instead I have limited this research to just the named dances. Some are mentioned only once in passing and others are described in detail.

Enjoy now, the dances of the Gorean slave girl.



This is a list of the named dances.  Click a heading to jump down to that dance.

Described  Belt Dance
MentionedBrand Dance
MentionedCapture Dance
MentionedChain Dance
DescribedContrition Dance
MentionedDance of a Nude Slave Girl
DescribedDance of Rence Girls
DescribedDance of the Netted Slave
MentionedDance of the Newly Collared Slave Girl
MentionedDance of the Six Thongs
DescribedDance of the Tuchuk Slave Girl
MentionedDisplay Dance
MentionedDrum Dance
MentionedFlower Dance of the Free Maiden
MentionedHate Dance
MentionedHunt Dance
DescribedLeash Dance
DescribedLove Dance
DescribedMat Dance
DescribedNeed Dance
MentionedRebellion Dance
MentionedSubmission Dance
MentionedTarnsman's First Mission Victory Dance
DescribedTether Dance
DescribedThe Sa-eela
DescribedTile Dance
MentionedTurian Knee Walk
DescribedVirgin Dance
DescribedWhip Dance




 


Belt Dance
To The Top

     I observed Phyllis Robertson performing the belt dance, on love furs spread between the tables, under the eyes of the Warriors of Cernus and the members of his staff. Beside me Ho-Tu was shoveling porridge into his mouth with a horn spoon. The music was wild, a melody of the delta of the Vosk. The belt dance is a dance developed and made famous by Port Kar dancing girls. Cernus, as usual, was engaged in a game with Caprus, and had eyes only for the board.
     As the weeks had worn on, becoming months, I had grown more and more apprehensive and impatient. More than once I had called on Caprus myself, though it was perhaps not wise, to urge him to speed in his work, or to permit me to transmit portions of the documents he was copying to the Sardar. Always he refused. I had been bitter at these delays, complaining and chafing, but there seemed little I could do. He would not inform me of the location of the maps and papers and I did not feel that any direct attempt to steal them and carry them away would be likely to be successful; further, if simply stolen, the Others, through Cernus, would doubtless be informed at the first opportunity and alternate plans put into effect. I reminded myself, again and again, as the month clock rotated, that Caprus was a trusted agent of Priest-Kings, that Misk himself had spoken in the highest terms of him. I must trust Caprus. I would trust him. Yet I could not help my anger.
     Ho-Tu pointed with his spoon at Phyllis. "She is not bad," he said.
     The belt dance is performed with a Warrior. She now writhed on the furs at his feet, moving as though being struck with a whip. A white silken cord had been knotted about her waist; in this cord was thrust a narrow rectangle of white silk, perhaps about two feet long. About her throat, close-fitting and snug, there was a white-enameled collar, a lock collar. She no longer wore the band of steel on her left ankle.
     "Excellent," said Ho-Tu, putting aside his spoon.
     Phyllis Robertson now lay on her back, and then her side, and then turned and rolled, drawing up her legs, putting her hands before her face, as though fending blows, her face a mask of pain, of fear.
     The music became more wild.
     The dance receives its name from the fact that the girl's head is not supposed to rise above the Warrior's belt, but only purists concern themselves with such niceties; wherever the dance is performed, however, it is imperative that the girl never rise to her feet.
     The music now became a moan of surrender, and the girl was on her knees, her head down, her hands on the ankle of the Warrior, his sandal lost in the unbound darkness of her hair, her lips to his foot.
     "Sura is doing a good job with her," said Ho-Tu.
     I agreed.
     In the next phases of the dance the girl knows herself the Warrior's, and endeavors to please him, but he is difficult to move, and her efforts, with the music, become ever more frenzied and desperate.
     A girl in a tunic of white silk, gracefully, carrying a large pitcher of diluted Ka-la-na wine, approached our table from the rear, and climbed the stairs, delicately, and as though timidly, head down. Then she leaned forward behind me, bending her knees slightly, her body graceful. Her voice in my ear was a whisper, an invitation. I looked at her. Her eyes met mine, beautiful, deep, gray. Her lips were slightly parted. "Wine, Master?" asked Virginia Kent.
     "Yes," I said, "I will have wine."
     Virginia served me, bowed her head and backed gracefully down the stairs behind me, then turned and hurried away.
     "She is White Silk, of course," said Ho-Tu.
     "I know," I said.
     Another girl approached similarly, though she was attired in a tunic of red silk.
     "Wine, Master?" asked Elizabeth Cardwell.
     "Again," snapped Ho-Tu, angrily.
     Flustered, Elizabeth retreated and again approached. It was only on the third time that she managed to satisfy Ho-Tu, when her eyes, her lips, the carriage of her body, the words she whispered seemed to him adequate. "That is a stupid one," said Ho-Tu. Elizabeth, angry, backed down the stairs and hurried away.
     I glanced at Virginia Kent, who was now moving about the tables, in the incredibly brief silken slave livery, the pitcher on her left shoulder, held there gracefully with her left hand. Her hair was now about three inches longer than it had been when she had come to the House of Cernus. She walked gracefully, insolently, the movement of her firing my blood. Her ankles were slender, beautiful. The left, as was the case with Phyllis, was now no longer encircled with the steel band, the identification band. About her throat, however, as was the case with Phyllis also, there was now a lock collar, snugly fitting, white-enameled. Both girls, branded and collared, were well marked as slave.
     The belt dance was now moving to its climax and I turned to watch Phyllis Robertson.
     "Capture of Home Stone," I heard Cernus say to Caprus, who spread his hands helplessly, acknowledging defeat.
     Under the torchlight Phyllis Robertson was now on her knees, the Warrior at her side, holding her behind the small of the back. Her head went farther back, as her hands moved on the arms of the Warrior, as though once to press him away, and then again to draw him closer, and her head then touched the furs, her body a cruel, helpless bow in his hands, and then, her head down, it seemed she struggled and her body straightened itself until she lay, save for her head and heels, on his hands clasped behind her back, her arms extended over her head to the fur behind her. At this point, with a clash of cymbals, both dancers remained immobile. Then, after this instant of silence under the torches, the music struck the final note, with a mighty and jarring clash of cymbals, and the Warrior had lowered her to the furs and her lips, arms about his neck, sought his with eagerness. Then, both dancers broke apart and the male stepped back, and Phyllis now stood, alone on the furs, sweating, breathing deeply, head down.
Assassin of Gor     Book 5     Pages 185 - 188



 


Brand Dance
To The Top

Already a large, curtained enclosure had been set up near the slave wagon. For a fee, the proprietor of the wagon would permit visitors. These arrangements irritated me somewhat, for customarily the chain dance, the whip dance, the love dance of the newly collared slave girl, the brand dance, and so on, are performed openly by firelight in the evening, for the delight of any who care to watch.
Nomads of Gor     Book 4     Page 147



 


Capture Dance
To The Top

"Slave dance," on Gor, incidentally, is a very rich and varied dance form. It covers a great deal more than simple "ethnic dance." For example, it includes dances such as hunt dances, capture dances, submission dances, chain dances, whip dances, and such.
Dancer of Gor     Book 22     Page 172



 


Tarnsman's First Mission Victory Dance
To The Top

"One of the first missions of a young tarnsman," I said, "is to capture a young woman from an enemy city, one with an alien Home Stone. She is taken home and collared. At his victory feast she dances, and serves him, he first, of all present. She then serves others, as his slave. That night, chained to her master's couch, she is taught her collar. She may thereafter be kept as a personal slave, or given away, or sold. It is up to her master."
Rebels of Gor     Book 33     Page 277



 


Contrition Dance
To The Top

There are many forms of placatory dances which are performed by female slaves. Some of these tend to have rather fixed forms, sanctioned by custom and tradition, such as the stately "Contrition Dance" of Turia. Some form of placatory dance is usually taught to the girl in slave training. There is no telling when it might be needed. Though I had had, because of the relatively advanced state of my dancing skills, for a new slave, very little instruction in dance in the house of my first training, I had been taught at least that much. The form of placatory dance taught to a girl usually depends on the girl in question. For example, I had not been taught the stately "Contrition Dance" of Turia. It had been felt that the nature of my body lent itself to a more desperate, needful, lascivious form of dance. I had been taught how to dance on my knees, for example, and, supplicatingly, on my back, and belly. Most placatory, dances, however, are not fixed-form dances, but are "free" dances, in which the slave, exquisitely alert to the nuances of the situation, the particular master, the nature of his displeasure, the gravity of her offense, and such, improvises, doing her best to assuage his anger and beg his forgiveness, to reassure him of the authenticity of her contrition and the genuineness of her desire to do better.
Dancer of Gor     Book 22     Page 332



 


Chain Dance
To The Top

"Rejoice, Little Barbarian," said Albrecht, "tonight in Pleasure Silk you will dance the Chain Dance for Kassar Warriors."
Nomads of Gor     Book 4     Page 73


Already a large, curtained enclosure had been set up near the slave wagon. For a fee, the proprietor of the wagon would permit visitors. These arrangements irritated me somewhat, for customarily the chain dance, the whip dance, the love dance of the newly collared slave girl, the brand dance, and so on, are performed openly by firelight in the evening, for the delight of any who care to watch.
Nomads of Gor     Book 4     Page 147


     The figure of the woman, swathed in black, heavily veiled, descended the steps of the slave wagon. Once at the foot of the stairs she stopped and stood for a long moment. Then the musicians began, the hand-drums first, a rhythm of heartbeat and flight.
     To the music, beautifully, it seemed the frightened figure ran first here and then there, occasionally avoiding imaginary objects or throwing up her arms, ran as though through the crowds of a burning city alone, yet somehow suggesting the presence about her of hunted others. Now, in the background, scarcely to be seen, was the figure of a warrior in scarlet cape. He, too, in his way, though hardly seeming to move, approached, and it seemed that wherever the girl might flee there was found the warrior. And then at last his hand was upon her shoulder and she threw back her head and lifted her hands and it seemed her entire body was wretchedness and despair. He turned the figure to him and, with both hands, brushed away hood and veil.
     There was a cry of delight from the crowd.
     The girl's face was fixed in the dancer's stylized moan of terror, but she was beautiful. I had seen her before, of course, as had Kamchak, but it was startling still to see her thus in the firelight, her hair was long and silken black, her eyes dark, the color of her skin tannish.
     She seemed to plead with the warrior but he did not move. She seemed to writhe in misery and try to escape his grip but she did not.
     Then he removed his hands from her shoulders and, as the crowd cried out, she sank in abject misery at his feet and performed the ceremony of submission, kneeling, lowering the head and lifting and extending the arms, wrists crossed.
     The warrior then turned from her and held out one hand.
     Someone from the darkness threw him, coiled, the chain and collar.
     He gestured for the woman to rise and she did so and stood before him, head lowered.
     He pushed up her head and then, with a click that could be heard throughout the enclosure, closed the collar a Turian collar - about her throat. The chain to which the collar was attached was a good deal longer than that of the Sirik, containing perhaps twenty feet of length.
     Then, to the music, the girl seemed to twist and turn and move away from him, as he played out the chain, until she stood wretched some twenty feet from him at the chain's length. She did not move then for a moment, but stood crouched down, her hands on the chain.
     I saw that Aphris and Elizabeth were watching fascinated.
     Kamchak, too, would not take his eyes from the woman.
     The music had stopped.
     Then with a suddenness that almost made me jump and the crowd cry out with delight the music began again but this time as a barbaric cry of rebellion and rage and the wench from Port Kar was suddenly a chained she-larl biting and tearing at the chain and she had cast her black robes from her and stood savage revealed in diaphanous, swirling yellow Pleasure Silk. There was now a frenzy and hatred in the dance, a fury even to the baring of teeth and snarling. She turned within the collar, as the Turian collar is designed to permit. She circled the warrior like a captive moon to his imprisoning scarlet sun, always at the length of the chain. Then he would take up a fist of chain, drawing her each time inches closer. At times he would permit her to draw back again, but never to the full length of the chain, and each time he permitted her to withdraw, it was less than the last. The dance consists of several phases, depending on the general orbit allowed the girl by the chain. Certain of these phases are very slow, in which there is almost no movement, save perhaps the turning of a head or the movement of a hand; others are defiant and swift; some are graceful and pleading; some stately, some simple; some proud, some piteous; but each time, as the common thread, she is drawn closer to the caped warrior. At last his fist was within the Turian collar itself and he drew the girl, piteous and exhausted, to his lips, subduing her with his kiss, and then her arms were about his neck and unresisting, obedient, her head to his chest, she was lifted lightly in his arms and carried from the firelight.
Nomads of Gor     Book 4     Pages 159 - 161



 


Dance of a Nude Slave Girl
To The Top

Should she miserably fall to slavery the passion dance of a nude slave girl will surely be among the least of what is commanded of her.
Marauders of Gor     Book 9     Pages 278 - 279



 


Dance of Rence Girls
To The Top

It was Telima who began first to pound the woven rence mat that was the surface of the island with her right heel, lifting her hands, arms bent, over her head, her eyes closed.
Then the other girls, too, began to join her, and at last even the shiest among them moved pounding, and stamping and turning about the circle. The dances of rence girls are, as far as I know, unique on Gor. There is some savagery in them, but, too, they have sometimes, perhaps paradoxically, stately aspects, stylized aspects, movements reminiscent of casting nets or poling, of weaving rence or hunting gants. But, as I watched, and the young men shouted, the dances became less stylized, and became more universal to woman, whether she be a drunken housewife in a suburb of a city of Earth or a jeweled slave in Port Kar, dances that spoke of them as women who want men, and will have them. To my astonishment, as the dances continued, even the shiest of the rence girls, those who had to have been forced to the circle, even those who had tried to flee, began to writhe in ecstasy, their hands lifted to the three moons of Gor.
Raiders of Gor     Book 6     Pages 45 - 46



 


Dance of the Netted Slave
To The Top

I caught a glimpse, between bodies, of a naked slave writhing in a net on the dancing floor. Four other slaves were dressed in such a way as to suggest that they might be slave hunters, but their costumes were such as to leave no doubt as to their own sex, and considerable charms. They were on their feet and had light staffs. They whirled about the captive, preventing her escape, and exulting over her, pretending to prod and torment her. There was much skilled staff work in progress, the staffs often behaving in unison, circling about, changing hands, striking on the floor together, seeming to poke at the victim, to strike her and such. It was a version of the dance of the netted slave.
. . .
The dance was coming to an end and the slave who had been "netted," now well in custody, bound and leashed, was being displayed by the "hunters" to the patrons. Now the captive knelt in the center of the dance floor, the "hunters" exultant about her. Then, as the music swirled to a conclusion, the captive lowered her head, humbly. There was much Gorean applause, the striking of the left shoulder with the palm of the right hand. There was then, suddenly, the snapping of a slave lash, and the "hunters" swiftly stripped themselves, cast aside their staffs and knelt with the prisoner. Then one of the fellows from the tavern took the net and cast it over the lot of them. No longer then were the hunters, hunters. Now, they, too, were only netted slaves. Then, to a passage of music, all rose up, hunted and hunters, all now in the net, and, in the small, pretty running steps of hastening slave girls, hurried from the floor.
Vagabonds of Gor     Book 24     Pages 400 - 401



 


Dance of the Newly Collared Slave Girl
To The Top

The auctioneer signaled to the Musicians again and once more, to the shouts of the crowd, while he held open his hand, not yet closing it, taking bids, the girls performed the last moments of Ar's dance of the newly collared slave girl, who dances her joy at the thought that she will soon be in the arms of a strong master.
Assassin of Gor     Book 5     Page 308



The Love Dance of the Newly Collared Slave Girl has many variations, in the different cities of Gor, but its common theme is that the girl dances her joy that she will soon lie in the arms of a strong master.
The musicians began to play, and to the clappings and cries of Thurnock and Clitus, Thura and Ula danced before them.
"Dance," said I to Midice.
In terror the dark-haired girl, lithe, tears in her eyes, she so marvelously legged, lifted her wrists.
Now again Midice danced, her ankles in delicious proximity and wrists lifted again together back to back above her head, palms out. But this time her ankles were not as though chained, nor her wrists as though braceleted; rather they were truly chained and braceleted, she wore the linked ankle rings, the three-linked slave bracelets of a Gorean master; and I did not think she would now conclude her dance by spitting upon me and whirling away.
She trembled. "Find me pleasing," she begged.
"Do not afflict her so," said Telima to me.
"Go to the kitchen," said I, 'Kettle Slave."
Telima turned and, in the stained tunic of rep-cloth, left the room, as she had been commanded.
The music grew more wild.
"Where now," I demanded of Midice, "is your insolence, your contempt!"
"Be kind!" she cried. "Be kind to Midice!"
The music grew even more wild.
And then Ula, boldly before Clitus, tore from her own body the silk she wore and danced, her arms extending to him.
He leaped to his feet and carried her from the room.
I laughed.
Then Thura, to my amazement, though a rence girl, dancing, revealed herself similarly to the great Thurnock, he only of the peasants, and he, with a great laugh, swept her from her feet and carried her from the room.
"Do I dance for my life?" begged Midice.
I drew the Gorean blade. "Yes," I said, "you do."
And she danced superbly for me, every fiber of her beautiful body straining to please me, her eyes, each instant, pleading, trying to read in mine her fate. At last, when she could dance no more, she fell at my feet, and put her head to my sandals.
"Find me pleasing," she begged. "Find me pleasing, my Master!"
Raiders of Gor     Book 6     Pages 116 - 117



 


Dance of the Six Thongs
To The Top

     "You may dance, Slave," I told her.
     It was to be the dance of the six thongs.
     She slipped the silk from her and knelt before the great table and chair, between the other tables, dropping her head. She wore five pieces of metal, her collar and locked rings on her wrists and ankles. Slave bells were attached to the collar and the rings. She lifted her head, and regarded me. The musicians, to one side, began to play. Six of my men, each with a length of binding fiber, approached her. She held her arms down, and a bit to the sides. The ends of six lengths of binding fiber, like slave snares, were fastened on her, one for each wrist and ankle, and two about her waist; the men, then, each holding the free end of a length of fiber, stood about her, some six or eight feet from her, three on a side. She was thus imprisoned among them, each holding a thong that bound her.
     I glanced to Thura. I recalled that she had been caught in capture loops on the rence island, not unlike the two now about Sandra's waist. Thura was watching with eagerness.
     So, too, were all.
     Sandra then, luxuriously, catlike, like a woman awakening, stretched her arms.
     There was laughter.
     It was as though she did not know herself bound.
     When she went to draw her arms back to her body there was just the briefest instant in which she could not do so, and she frowned, looked annoyed, puzzled, and then was permitted to move as she wished.
     I laughed.
     She was superb.
     Then, still kneeling, she raised her hand, head back, insolently to her hair, to remove from it one of the ornate pins, its head carved from the horn of kailiauk, that bound it.
     Again a thong, this time that on her right wrist, prohibited, but only for an instant, the movement, but inches from her hair.
     She frowned. There was laughter.
     At last, sometimes immediately permitted, sometimes not, she had removed the pins from her hair. Her hair was beautiful, rich, long and black. As she knelt, it fell back to her ankles.
     Then, with her hands, she lifted the hair again back over her head, and then, suddenly, her hands, by the thongs were pulled apart and her hair fell again loose and rich over her body.
     Now, angrily, struggling, she fought to lift her hair again but the thongs, holding apart her hands, did not permit her to do so. She fought them. The thongs would permit her only to wear her hair loosely.
     Then, as though in terror and fury, as though she now first understood herself in the snares of a slave, she leaped to her feet, fighting, to the music, the thongs.
     The dancing girls of Port Kar, I told myself, are the best on all Gor.
     Dark and golden, shimmering, crying out, stamping, she danced, her thonged beauty incandescent in the light of the torches and the frenzy of the slave bells.
     She turned and twisted and leaped, and sometimes seemed almost free, but was always, by the dark thongs, held complete prisoner. Sometimes she would rush upon one man or another, but the others would not permit her to reach him, keeping her always beautiful female slave snared in her web of thongs. She writhed and cried out, trying to force the thongs from her body, but could not do.
     At last, bit by bit, as her fear and terror mounted, the men, fist by fist, took up the slack in the thongs that tethered her, until suddenly, they swiftly bound her hand and foot and lifted her over their heads, captured female slave, displaying her bound arched body to the tables.
Raiders of Gor     Book 6     Pages 228 - 229



 


Dance of the Tuchuk Slave Girl
To The Top

At the height of one of her dances, called the Dance of the Tuchuk Slave Girl, Kamchak turned to Aphris of Turia, who was watching the dance, eyes bright, as astounded as I at the savage spectacle. "I will see to it," said Kamchak, "when you are my slave, that you are taught that dance."
Nomads of Gor     Book 4     Page 99



 


Display Dance
To The Top

To be sure, many of the dances of female slaves are lovely and sensuous; others, of course, are piteous and orgasmic. In all fairness, though, one must note that there is a large variety of slave dances on Gor, and that there is some variation from city to city. The institution of female slavery on Gor is doubtless thousands of years old; accordingly it is natural that there should be great complexity and refinement in such a delicious art form as slave dance. There are even, it might be mentioned, hate dances and rebellion dances, but most dances, as might be expected, are display dances, or need dances, or love and submission dances; even the hate and rebellion dances, of course, conclude, inevitably, with the ultimate surrender of the girl to her master as a love slave.
Fighting Slave of Gor     Book 14     Pages 288 - 289



 


Drum Dance
To The Top

"Imnak," I said, "would you like to go home?"
"I have not seen the performance of a drum dance in four moons," he said.
Beasts of Gor     Book 12     Page 165



 


Flower Dance of the Free Maiden
To The Top

"Can you dance?" I asked the girl.
"The flower dance of the free maiden," she said, frightened, her head held back, by the hair.
"Then you do not know the dances of begging slaves," I said.
"No, Master," she said. Such dances are often taught to the snapping of a whip.
Mariners of Gor Book 30 Page 341



 


Hate Dance
To The Top

To be sure, many of the dances of female slaves are lovely and sensuous; others, of course, are piteous and orgasmic. In all fairness, though, one must note that there is a large variety of slave dances on Gor, and that there is some variation from city to city. The institution of female slavery on Gor is doubtless thousands of years old; accordingly it is natural that there should be great complexity and refinement in such a delicious art form as slave dance. There are even, it might be mentioned, hate dances and rebellion dances, but most dances, as might be expected, are display dances, or need dances, or love and submission dances; even the hate and rebellion dances, of course, conclude, inevitably, with the ultimate surrender of the girl to her master as a love slave.
Fighting Slave of Gor     Book 14     Pages 288 - 289



 


Hunt Dance
To The Top

"Slave dance," on Gor, incidentally, is a very rich and varied dance form. It covers a great deal more than simple "ethnic dance." For example, it includes dances such as hunt dances, capture dances, submission dances, chain dances, whip dances, and such.
Dancer of Gor     Book 22     Page 172



 


Leash Dance
To The Top

     "On your knees," I said. "Now."
     She cried out, and rose quickly to her knees.
     "Knees spread," I said.
     She knelt there, her knees spread. She blushed crimson. It seemed she could not take her eyes off the tall fellow.
     "Perform," I encouraged her. "Move. Call attention to your charms."
     Again Lady Klio began to perform, as she could.
     "It may not be much, gentlemen," I informed them, holding the leash, "but surely for such a woman it is an unusual activity. I suspect that she is not accustomed to doing it. Perhaps in the future she will be better at it. Look, gentlemen. Little as it may be, I suspect this is far more than was provided for the many chaps who paid for her meals, her lodging, her wardrobe, her transportation, her luxuries, her claimed needs, her numerous bills."
     "Continue to perform," I said. "You may leave your knees, but do not rise to your feet."
. . .
     "On your belly," I said to Klio. "There, that fellow," I said, indicating a grizzled sapper to one side, his tools near him, "address yourself to him, about the feet and legs."
. . .
     "She dances the leash dance well, does she not?" I asked.
Renegades of Gor     Book 23     Pages 174 - 177



 


Love Dance
To The Top

"Then I will show you a love dance," she said happily, "a dance I learned in the Walled Gardens of Ar."
"I should like that," I said, and, as I watched, Talena performed Ar's strangely beautiful dance of passion.
She danced before me for several minutes, her scarlet dancing silks flashing in the firelight, her bare feet, with their belled ankles, striking softly on the carpet. With a last flash of the finger cymbals, she fell to the carpet before me, her breath hot and quick, her eyes blazing with desire.
Tarnsman of Gor     Book 1     Page 135


The girl looked at him gratefully and she, with the others, rose to her feet and to the astounding barbarity of the music performed the savage love dances of the Kassars, the Paravaci, the Kataii, the Tuchuks.
Nomads of Gor     Book 4     Page 98


Already a large, curtained enclosure had been set up near the slave wagon. For a fee, the proprietor of the wagon would permit visitors. These arrangements irritated me somewhat, for customarily the chain dance, the whip dance, the love dance of the newly collared slave girl, the brand dance, and so on, are performed openly by firelight in the evening, for the delight of any who care to watch.
Nomads of Gor     Book 4     Page 147


The Love Dance of the Newly Collared Slave Girl has many variations, in the different cities of Gor, but its common theme is that the girl dances her joy that she will soon lie in the arms of a strong master.
The musicians began to play, and to the clappings and cries of Thurnock and Clitus, Thura and Ula danced before them.
"Dance," said I to Midice.
In terror the dark-haired girl, lithe, tears in her eyes, she so marvelously legged, lifted her wrists.
Now again Midice danced, her ankles in delicious proximity and wrists lifted again together back to back above her head, palms out. But this time her ankles were not as though chained, nor her wrists as though braceleted; rather they were truly chained and braceleted, she wore the linked ankle rings, the three-linked slave bracelets of a Gorean master; and I did not think she would now conclude her dance by spitting upon me and whirling away.
She trembled. "Find me pleasing," she begged.
"Do not afflict her so," said Telima to me.
"Go to the kitchen," said I, 'Kettle Slave."
Telima turned and, in the stained tunic of rep-cloth, left the room, as she had been commanded.
The music grew more wild.
"Where now," I demanded of Midice, "is your insolence, your contempt!"
"Be kind!" she cried. "Be kind to Midice!"
The music grew even more wild.
And then Ula, boldly before Clitus, tore from her own body the silk she wore and danced, her arms extending to him.
He leaped to his feet and carried her from the room.
I laughed.
Then Thura, to my amazement, though a rence girl, dancing, revealed herself similarly to the great Thurnock, he only of the peasants, and he, with a great laugh, swept her from her feet and carried her from the room.
"Do I dance for my life?" begged Midice.
I drew the Gorean blade. "Yes," I said, "you do."
And she danced superbly for me, every fiber of her beautiful body straining to please me, her eyes, each instant, pleading, trying to read in mine her fate. At last, when she could dance no more, she fell at my feet, and put her head to my sandals.
"Find me pleasing," she begged. "Find me pleasing, my Master!"
Raiders of Gor     Book 6     Pages 116 - 117



 


Mat Dance
To The Top

"Use the chain," I said. "It is on your neck. Use it! Use it in this mat dance."
"Dance?" she wept.
"Yes," I said, "you can consider it a dance. You can treat it as a dance. You are writhing for a master, pausing now and then to startle him with your beauty, on your chain. There is even music here. Feel it in your belly. Deep in your belly! Deeper! Yes! Yes!"
Mercenaries of Gor     Book 21     Page 370



 


Need Dance
To The Top

To be sure, many of the dances of female slaves are lovely and sensuous; others, of course, are piteous and orgasmic. In all fairness, though, one must note that there is a large variety of slave dances on Gor, and that there is some variation from city to city. The institution of female slavery on Gor is doubtless thousands of years old; accordingly it is natural that there should be great complexity and refinement in such a delicious art form as slave dance. There are even, it might be mentioned, hate dances and rebellion dances, but most dances, as might be expected, are display dances, or need dances, or love and submission dances; even the hate and rebellion dances, of course, conclude, inevitably, with the ultimate surrender of the girl to her master as a love slave.
Fighting Slave of Gor     Book 14     Pages 288 - 289


She was performing a need dance, of a type not uncommon among Gorean female slaves. Such a dance usually proceeds in clearly defined phases, evident not merely in the expressions and movements of the girl but in the nature of the accompanying music. There are usually five phases to such a dance. In the first phase the girl, dancing, feigns indifference to the presence of men, before whom, as a slave, she must perform. In the second phase, for she has not yet been raped, her distress and uneasiness, her restlessness, her disturbance by her sexual urges, must become subtly more manifest. Here it must be evident that she is beginning to feel her sexuality, and drives, profoundly, and yet is struggling against them. Toward the end of this phase it must become clear not only that she has sexual needs, and deep ones, but that she is beginning to fear that she may not be, simply as she is, of sufficient interest to men to obtain their satisfaction. Here, need, coupled with anxiety and self-doubt, for she has not yet been seized by strong men, must become clear. In the third phase of the dance she, in an almost ladylike fashion, acknowledges herself defeated in her attempt to conceal her sexuality; she then, again in an almost ladylike fashion, delicately but clearly, with restraint but unmistakably, acknowledges, and publicly, before masters, that she has sexual needs. Then, with smiles, and gestures, displaying herself, she makes manifest her readiness for the service of men, her willingness, and her receptivity. She invites them, so to speak to have her. But she has not yet been seized by an arm or an ankle, or by her collar, a thumb hooked rudely under it, or hair, and pulled from the floor. What if she is not sufficiently pleasing? What if she is not to be fulfilled? What if she must continue to dance, alone, unnoticed. At this point it becomes clear to her that it is by no means a foregone conclusion that men will find her of interest, or that they will see fit to satisfy her. She must strive to be pleasing. If she is not good enough she may be chained, unfulfilled, another night alone in the kennel. There are always other girls. She must earn her rape. Too, if she should be insufficiently pleasing consistently it is likely that she will be slain. Goreans place few impediments in the way of the liberation of a slave female's sexuality. In this phase of the dance, then, shamelessly the woman dances her need and, shamelessly, begs for her sexual satisfaction. This phase of the dance is sometimes known as the Heat of the Collared She-Sleen. The fifth, and final phase, of the dance, is far more dramatic and exciting. In this phase the girl, overcome by sexual desire and terrified that she may not be found sufficiently pleasing, clearly manifests, and utterly, that she is a slave female. In this portion of the dance the girl is seldom on her feet. Rather, sitting, rolling, and changing position, on her side, her back, her belly, half kneeling, half sitting, kneeling, crawling, reaching out, bending backwards, lying down, twisting with passion, gesturing to her body, presenting it to masters for their inspection and interest, whimpering, moaning, crying out, brazenly presenting herself as a slave, pleading for her rape, she writhes, a piteous, begging, vulnerable, ready slave, a woman fit for and begging for the touch of a master, a woman begging to become, at the least touch of her master, a totally submitted slave. The fourth phase of the dance, as I have mentioned, is sometimes known as the Heat of the Collared She-Sleen. This portion of the dance, the fifth portion, is sometimes known as the Heat of the Slave Girl.
Rogue of Gor     Book 15     Pages 185 - 186



 


Rebellion Dance
To The Top

To be sure, many of the dances of female slaves are lovely and sensuous; others, of course, are piteous and orgasmic. In all fairness, though, one must note that there is a large variety of slave dances on Gor, and that there is some variation from city to city. The institution of female slavery on Gor is doubtless thousands of years old; accordingly it is natural that there should be great complexity and refinement in such a delicious art form as slave dance. There are even, it might be mentioned, hate dances and rebellion dances, but most dances, as might be expected, are display dances, or need dances, or love and submission dances; even the hate and rebellion dances, of course, conclude, inevitably, with the ultimate surrender of the girl to her master as a love slave.
Fighting Slave of Gor     Book 14     Pages 288 - 289



 


Submission Dance
To The Top

"Slave dance," on Gor, incidentally, is a very rich and varied dance form. It covers a great deal more than simple "ethnic dance." For example, it includes dances such as hunt dances, capture dances, submission dances, chain dances, whip dances, and such.
Dancer of Gor     Book 22     Page 172



 


Tether Dance
To The Top

     I jerked the tether on her throat. "This is a tether," I said. "It is to be well incorporated in your dance. You are a tethered slave. Do not forget it. You may fight the tether, you may love it. It may confine your body, you may use it to caress your body, an invitation to your master, a surrogate symbol of his domination of you. You need not dance always on your feet. A woman can dance beautifully on her knees, moving as little as a hand, or on her back, or belly or side. In all things do not forget that you are a slave."
     "Are you now commanding me to dance before you?" she asked.
     "Yes," I said, "you dance now as a commanded slave. And if I am not well pleased have no fear but what you will be well beaten, if not slain."
     "Yes, Master," she said.
     I then stepped back from her. "When I clap my hands," I said, "you will dance, Slave."
     "Yes, Master," she said.
     I then struck my hands together, and, terrified, the girl danced.
     She had not been taught the tether dance, one of the most beautiful of the slave dances of Gor, but she improvised well. Indeed, it was hard to believe that she had not had training. I am inclined to believe that the need dances and display dances of the human female may be, at least in their rudiments, instinctual. I suspect there is a genetic disposition in the woman toward this type of behavior and that certain of the movements, closely associated with luring behavior and love movements, may also be genetically based. One reason for supposing this to be the case is that a girl's growth in certain forms of dance skills does not follow a normal learning curve. It is rather like the human being's ability to acquire speech, which also does not follow a normal learning curve. It seems reasonably likely that facility in acquiring speech, which would have enormous survival value, has been selected for. Similarly, a woman's marvelous adaptability to erotic dance may possibly have been selected for. At any rate, whatever the truth may be in these matters, feminine women, perhaps to the horror of their more masculine sisters, seem to take naturally to the beauties of erotic dance. At the very least, perhaps inexplicably, they are marvelously good at it. These genetic dispositions, of course, if they exist, can be culturally suppressed.
     I watched the girl dance. She was quite good.
     The needs of human beings are a matter of biology. The values in a culture are the values of certain men. Many people take the values of their culture for granted, as though they were somehow a part of the furniture of the universe. They should realize that the values they are taught are the values of particular men, and often, unfortunately, of men who, long ago, were short-lived, ignorant, uninformed, unhealthy and quite possibly of unsound mind. Perhaps human beings should, from the viewpoints of contemporary information and modern medicine, re-evaluate these perhaps anachronistic value structures. Values need not be something one somehow mysteriously "knows," a result of having forgotten the conditioning process by means of which they were instilled, but could be something chosen, something selected as instruments by means of which to improve human life. It is not wrong for human beings to be happy.
     "Now you are becoming a woman," I told her. She knelt on one knee, her right; her left leg was flexed; the tether was taken, in a turn, about her left thigh; her hands, too, were on her left thigh; her head was down, but turned toward me; her lip trembled. "Continue to dance, Slave," I told her.
     "Yes, Master," she said.
     I watched her, and marveled. It is interesting to note that such movements, those of slave dances, despite the inhibitions of rigid cultures, may occur in a girl's sleep, and may even occur, almost spontaneously, when she, nude, alone, passes before a mirror in her bedroom. How shocked she may be to suddenly see her body move as that of a slave. Could it have been she who so moved? Later, perhaps to her surprise, she finds herself standing before the mirror. She is naked, and alone. Then, perhaps scarcely understanding what is occurring within her, she sees the girl in the mirror has begun to dance. The movements are not dissimilar perhaps to those of women who, thousands of years ago, danced in firelit caves before their masters. Then, knowing well that it is she herself who is the dancer, she dances brazenly, boldly, before the mirror. Well does she present her bared beauty before it in the movements, the attitudes and postures of the female slave. Then perhaps she falls to the rug, scratching at it, pressing her belly to it. "I want a Master," she whispers.
     I now stood up. My arms were folded.
     The girl now was upon her knees at my feet, the tether on her neck slung back behind her to the slave stake. Still in her dance, she began to lick and kiss at my body.
     I then took her by the upper arms and held her, half lifted from her knees, before me.
Explorers of Gor     Book 13     Pages 360 - 362



 


The Sa-eela
To The Top

     The Sa-eela is one of the most moving, deeply rhythmic and erotic of the slave dances of Gor. It belongs, generally, to a genre of dances commonly known as the Lure Dances of the Love-Starved Slave Girl. The common theme of the genre, of course, is the attempt on the part of a neglected slave to call herself to the attention of the Master. Tasdron then signaled to the musicians. And then Peggy began to dance.
     I remembered her then from long ago, from Earth, also from the restaurant, where she had worked as a hat-check girl. She had worn a black ribbon in her blond hair, a long-sleeved, white-silk blouse, panty hose of black netting, and a brief, black miniskirt. Her long, shapely legs had been well revealed. She had been very lovely. I did not find it hard to understand that she might have come to the casual attention of a Gorean slaver.
     "I thought she was not a dancer," said Glyco.
     "I have never thought of her as a dancer," said Tasdron, puzzled. "I have never used her as a dancer."
     The former Peggy Baxter, of Earth, nude and in the steel collar of Tasdron of Victoria, her master, now danced before us, a Gorean slave girl.
     I sipped a Turian liqueur.
     I sensed the lovely little dark-haired slave kneel down quite close to me, behind me and to my left. She put her hands about my left arm.
     I savored the liqueur, and observed the dance of the slave.
     I also smiled, detecting the swift, astonished breathing of the little slave near me.
     "Such movements, of course," Glyco was saying, "are instinctual in a woman."
     "Yes," said Tasdron.
     "Oh," breathed the little slave near me, "oh!" I smiled. I gathered that she had seldom seen the dance of a female slave.
The Sa-eela, usually performed in the nude, as though by a low slave, and by a girl freed of all impediments, except her collar, is one of the most powerful of the slave dances of Gor. It is done rather differently in different cities but the variations practiced in the river towns and, generally, in the Vosk basin, are, in my opinion, among the finest. There is no standardization, or little standardization, for better or for worse, in Gorean slave dance. Not only can the dances differ from city to city, and town to town, and even from tavern to tavern, but they are likely to differ, too, even from girl to girl. This is because each girl, in her own way, brings the nature of her own body, her own dispositions, her own sensuality and needs, her own personality, to the dance. For the woman, slave dance is a uniquely personal and creative art form. Too, of course, it provides her with a wondrous modality for deeply intimate self-expression.
. . .
     Peggy now danced upon her knees, at the end of the table, using the table in the dance, thrusting her belly against it, and touching it with her hands, and her body and lips.
     "Ohhh," said the little slave, holding my arm.
     I smiled. The Sa-eela, of course, is not the sort of dance which could be performed by a free woman.
     Peggy, then, was back from the table, on the tiles, on her back, and sides, and knees, and then prone, and then again supine, and then writhing, as though in frustration and loneliness.
     I observed the dancer, closely, the striking of her small, clenched fists on the tiles, the scratching of her fingernails at their smooth surfaces, the turning of a hip, the flattening of a thigh, the lifting of a knee, the turning of her head, the piteous scattering of her hair from side to side. She lay on her back, and, whimpering, struck down, in misery, stinging the palms of her hands, bruising her small heels. She might have been in a cell, locked away from men.
     She then rolled to her stomach, and rose to her hands and knees, and, head down, remained for a moment in that posture. It is at this moment that the music enters a different melodic phase, one less physical and frenzied, one almost lyrical in its poignancy. She crawls some feet to her left and lifts her head. She puts out her small hand. It seems that it there encounters some barrier, some enclosing, confining wall. She then rises to her feet. Swiftly she hurries about, in the graceful, frightened haste of the dancer, her hands seeming to trace the location of the obdurate barriers, those invisible walls which seemed to contain her. She then stood and faced us, and put her head in her hands, bent over, and then straightened her body, her head and hair thrown back. "I?" she seemed to ask, looking out, as though some rude jailer might have come to the gate of her pen. But there is, of course, no one there, and, in the performance of the dance, that is clearly understood. Then, in poignant fantasy, within the pen, she prepares herself for the master, seeming to thoughtfully select silks and jewelry, seeming to apply perfume and cosmetics, seeming to be bedecked in shimmering, diaphanous slave splendor. She then crosses her wrists, and moves them, as though they have been bound. She then extends them before her as though the strap on them had been drawn taut. It then seems that she, head high, a bound slave, is being led on her tether from the pen. But, at the gate, of course, her wrists separate, and her small palms and fingers indicate for us, dearly, that she is still confined. She retreats to the center of the pen, falls to her knees, covers her head with her hands, and weeps.
     The next phase of the music begins at this point.
     She looks up. There is a sound in the corridor, beyond the gate. She leaps up, and backs against the wall of her pen. This time, it seems, truly, there are men there, that they have come for her. She puts her head up; she turns away; she feigns disdain. Then, it seems, as she, startled, looks about, they are turning away. She then throws herself to her belly on the floor of the pen, calling to them, lifting her head, holding out her hand piteously to them. She pleads to be considered.
     It then seems, as she shrinks back, lifting herself to the palms of her hands, frightened, that the gate to her pen has been opened. She kneels swiftly in the position of the pleasure slave. Obviously she fears her rude jailers. Twice, it seems she is struck with a whip. Then she, again, assumes the position of the pleasure slave. She nods her head. She understands well what is expected of her. She is to perform well on the tiles of the feasting hall. "Yes, Masters!" it seems she says. But how little do her jailers, perhaps only common and boorish fellows, understand that this is precisely what she, too, deeply and desperately desires to do. How long she has waited, in cruel frustration, unfulfilled and lonely, in her cell for just such a moment, that precious opportunity in which she, a mere slave, may be permitted to display and present herself for the consideration of her master. How can they understand the poignance, and significance, of this moment for her? She is to have an opportunity to present herself before the master! Who knows if she, in such a large house, one with such cells and jailers, may ever again be given such an opportunity?
     It then seems that she is hauled to her feet and that her wrists, tightly and cruelly, are bound behind her back. Her body and head are then bent far over. Her head twists. It seems a man's hand is in her hair. Not as a high slave, clothed in jewelries and shimmering silks, tastefully bound, is she to be conducted to the site of her performance, some aristocratic banquet; rather, cruelly bound and nude, she is to be thrown before masters at a drunken feast. She then, with small, hurried steps, bent over, described a wide circle on the tiles. Then, it seemed, she was thrown to her knees, and then her side, before us. Her hands were still held as though tightly bound behind her. She looked at us. We were, of course, the "masters," before whom she was to perform. She rose to her feet. She twisted, as though her hands were being untied. She then flexed her legs and lifted her hands over her head, as she had in the beginning, back to back.
     The final phases of the Sa-eela then begin.
     In these phases the girl, in all her unshielded beauty, and naked except for the collar of slavery, attempts to arouse the interest of her master.
     In the former Peggy Baxter, of Earth, I now saw little left which was reminiscent of her planet of origin. Before us there danced a Gorean slave girl.
     I glanced about, to the small, dark-haired slave clutching my arm, to Lola, in the arms of Calliodorus, to Florence, kneeling behind Miles of Vonda, to she who had been Shirley, in her yellow gauze, kneeling to one side, now the slave of Aemilianus. They were breathing deeply. Their eyes shone. In fascination, and in arousal, and fear, they watched the beautiful slave. They knew that they, too, wore collars.
     Peggy's body gleamed with sweat. She had small feet, and lovely, high arches. Her body was superb. She had retained, by means of diet and exercise, her block measurements, those measurements which were hers when she, after having been prepared for sale, was marketed from a slave block. The master commonly has a record of such measurements and many masters, using a tarsk scale, used for small livestock, and slave tapes, periodically check their lovely properties, making certain that they are maintaining the measurements. And woe to the girl, in such a case, whose measurements are found to depart to any significant extent from the block measurements! Such a departure can be an occasion for corrective discipline, and of a quite severe sort. Sometimes, when one sees a fearful girl refusing the smallest of sweets and exercising, almost in desperation, one may suspect, in amusement, that the day on which her master plans to check her measurements is not far distant. The lovely figures of slave girls are not accidents. Only free women are permitted to become unkempt and gross.
     Peggy was dancing well.
     She had lovely arms, and lovely, slender wrists. They would look well roped, or clasped in slave steel.
     She had now entered into the display phase of the Sa-eela. In this portion of the dance the girl calls attention to the various aspects of her beauty, from the swirling sheen of her cascading hair to her ankles, from her small feet to her tiny, fine fingers.
     Women are so incredibly beautiful. It is a wonder that men do not scream with pleasure, seeing them.
     It is little wonder that Goreans put them in collars, and own them.
     "Oh!" gasped the naked, collared little beauty kneeling near me. I smiled. I recalled that she had seen little on Gor of the dancing of female slaves.
     I looked at her.
     "She is so sensuous, and female!" she whispered.
     I shrugged. "She is a slave," I said. Free women, incidentally, are seldom permitted to witness dances of the erotic power of the Sa-eela. The major reason for this, interestingly, is not that they might be offended or outraged, but for their own protection. Many times lovely, young free women, sometimes thinking that they have cleverly disguised themselves, donning male garments, pretending to be boys, thus seeking admission to the dances, find themselves set upon and stripped. Soon, in chains and well ravished, they find themselves as much slaves as the dancer. Perhaps, in their turn, too, they will be taught to dance. On their way to the market they may, if they wish, reflect upon what they, at that time, are likely to regard as their folly. Later, at the feet of a strong man, they may become clearer on the nature of the motivations that took them to such a performance in the first place. They were courting slavery, begging, in their way, for the steel of the collar, pleading to be subject, if they were not pleasing, to the cut of the whip. They had not truly been free women; they had only been, unbeknownst to themselves, slaves in search of their masters.
     "I am hot, Master," said the little slave kneeling beside me. "A bold admission," I said, "for a former Earth girl." "And I am frightened," she whispered, suddenly.
     "Of course," I said. "You now realize, even more clearly than before, what it might mean to be a slave on Gor."
     She then clutched my arm, even more tightly, and then, she kneeling beside me, small and naked, helpless and vulnerable, her throat locked in the steel of my collar, on the tiles, we watched the dance of the female slave.
     The music now, pounding and throbbing, mounted headily toward the climax of the Sa-eela.
     In these, the final portions of the Sa-eela, the slave, in effect, puts herself at the mercy of the Master. She has already presented before him, almost in a delectable enumeration, many of the more external and rhythmic aspects of her beauty. She has displayed herself hitherto before him rather as an object in which, hopefully, he might take an interest. A woman may do this, of course, from many motives, such as fear or her desire to be purchased by an affluent master, only one of which might be her authentic, poignant desire to be found pleasing by him, for her own sake. In such displays there can be, though there often is not, a subtle psychological distinction, detectable in the behavior, between the merchandise, so to speak, and the girl who is displaying herself as merchandise. In the first case, where no true distinction exists, which is the authentic case, the girl, in effect, says, "I am for sale. Buy me, and love me!"
     In the second case, the girl, in effect, says, "Here is a fine slave. Are you not interested in her?" In the second case, of course, the Gorean is interested, though the girl may not understand this clearly, in not only the merchandise but the girl who is displaying the merchandise. She might truly be terrified if she understood that it was she herself he intended to own, and, in fact, was going to own, she the exhibitor of the merchandise as well as she, the merchandise exhibited. Goreans, as I have mentioned, are interested in owning the whole woman, in all her sweetness, depth, complexity and individuality.
     They, and their whips and chains, settle for nothing less. To think of the imbonded woman as a slave object is in one sense quite correct, but, in another sense, it is a perversion of, and a failure to understand, the intimate and beautiful relations which can exist between masters and slaves.
     The girl now, in all her helplessness, in all her desperation, in all her sensual splendor, was dancing not aspects or attributes of her beauty before her master, but was dancing her own passions, her own needs and desires, her own piteous, needful, beautiful, intimate and personal self before him. There were no restraints, no reservations, no compromises, no divisions or distinctions. Her needs were as exposed as her collared body. She danced herself before her master.
     The music swirled to its climax and Peggy, turning, flung herself to her back on the tiles before Callimachus of Port Cos. As the music struck its last, rousing note, she arched her back, and flexed her legs, and looked back at him, her right arm extended piteously back towards him.
     Callimachus, sweating, overcome, trembling, fists clenched, rose to his feet. He looked down at the supine slave, sweating, her breasts heaving, at his feet.
Guardsman of Gor     Book 16     Pages 259 - 265



 


Tile Dance
To The Top

The tile dance is commonly performed on red tiles, usually beneath the slave ring of the master's couch. The girl performs the dance on her back, her stomach and sides. Usually her neck is chained to the slave ring. The dance signifies the restlessness, the misery, of a love-starved slave girl. It is a premise of the dance that the girl moves and twists, and squirms, in her need, as if she is completely alone, as if her need is known only to herself; then, supposedly, the master surprises her, and she attempts to suppress the helplessness and torment of her needs; then, failing this, surrendering her pride in its final shred, she writhes openly, piteously, before him, begging him to deign to touch her. Needless to say, the entire dance is observed by the master, and this, in fact, of course, is known to both the dancer and her audience, the master. The tile dance, for simple psychological and behavioral reasons, having to do with the submission context and the motions of the body, can piteously arouse even a captured, cold free woman; in the case of a slave, of course, it can make her scream and sob with need.
Explorers of Gor     Book 13     Pages 13 - 14



 


Turian Knee Walk
To The Top

I saw, too, that she knew the Turian knee walk.
Vagabonds of Gor     Book 24     Page 35



 


Virgin Dance
To The Top

"You are a virgin, of course," he said.
"Oh," I said.
"That is of value to me," he said, "for I am a tavern owner. After you have performed the virgin dance, I will raffle off your virginity."
Dancer of Gor     Book 22     Page 152


     There are some three senses of the expression "virgin dance" on Gor. There is a sense in which it is a kind of dance, rather than a particular dance, which is deemed appropriate for virgins. In that sense I was not expected to perform a "virgin dance." One would seldom see such dances in taverns. The second sense is the obvious one in which it is a dance danced by a virgin, and usually just prior to the loss of her virginity. In that sense it could be almost any dance which serves the purpose of displaying the girl before her initial ravishing. The third sense of the term is that of a specific dance, or type of dance, most often, interestingly, not even danced by a virgin, but usually by an experienced slave. It is not exactly a story dance, but more of an emotional or attitudinal piece, more in the nature of a "role dance," a dance in which the slave dances as though she might be a virgin, but knows she is to be ravished, and that she is expected to be pleasing. The dance I was expected to perform was, I suppose, a "virgin dance" in both the second and third senses of the term. Mirus, paradoxically, speaking obviously in the third sense of the term, had told me that I would do better at this sort of dance when I was no longer a virgin.
. . .
I stood barefoot, naked, save for collar and adornments, on the dancing floor of a low-ceilinged Gorean tavern.
. . .
     I teased them, dancing close to them, swaying, my belly alive for them, with the jangling metal pieces, the anklets clashing on my ankles, the bracelets sliding and ringing on my wrists, and then, as they attempted to seize me, drew back, backing away, or whirled, with a swirl of beads, away from them. I picked one man after another out of the audience, seeming to dance my beauty most meaningfully to him.
. . .
     Suddenly in my dance it seemed I was a virgin, reluctant and fearful, terrified in the reality in which she found herself, but knowing she must respond to the music, to those heady, sensuous rhythms, to the wild cries of the flute, to the beating of the drum. I then danced timidity, and reluctance and inhibition, but yet reflecting, as one would, in such a situation, the commands of the music. I examined in dismay the beads about my neck, the cords at my waist, my barbarically adorned ankles and wrists, I touched my thighs, and lifted my arms, looking at them, and put my hands upon my body, as though I could not believe that it was unclothed. I pretended to shrink down within myself, to desire to crouch down, and conceal and cover my nudity, but then I straightened up, fearfully, as though I had heard commands to desist in such absurdities, and then I extended my hands to the sides, to various sides, as though pleading for mercy, to be released from the imperatives of the music, but then reacted, drawing back, as though I had seen the sight of whips or weapons. The kaska player, alert to this, reduced the volume of his drumming, and then, five times, smote hard upon the taut skin, almost like the cracking of a whip, to which I reacted, turning to one side and another, as though such a disciplinary device had been sounded menacingly, on all sides, in my vicinity, and then I continued to dance, helpless before the will of masters. Then, as the dance continued, I signified by expression and movement my curiosity and fascination with what I was being forced to do, and the responses of my body, reconciled now to its reality, helplessly obedient now to the music.
     I am a basically shy person. But now I was dancing such things as shyness, and timidity, and fear, and curiosity, and fascination, as roles. Like many shy persons I can find myself in roles, and blossom forth in them.
     I suddenly by expression and movement, an almost involuntary contortion of my belly, seemingly startling me, and frightening me, appeared to suddenly sense, or glimpse, my sexuality.
     "Ah," said a man, appreciatively.
     I approached him in the dance, and then others, my belly seeming to register, with its jangling accouterments, their presence. Each time I would draw back from them, but my belly, my hips, would seem to propel me again toward them, or toward yet another. I then felt my hips, and thighs, and breasts, and belly, as these seemed to come alive in the music. And then, throwing my head back, I danced unabashedly as an acknowledged, aroused slave, much as I had before, taunting them, teasing them, delighting in my power, but then, suddenly, as though I sensed my ultimate helplessness, my ultimate inability to achieve total fulfillment without the wholeness of sexuality, without the master and the yielding, which gave meaning to the incipient passions within me, I danced the aroused slave who is the property of the master and begs his touch.
     "Good," said a fellow.
     "The slut is excellent," said another.
     Then I realized suddenly that I was actually aroused. The interior of my thighs were hot. My belly, hot and burning, seemed to beg to be touched. I do not know, really, whether I had done this to myself in the dance, which is possible, or if my arousal had merely came upon me in the course of the dance, but I was aroused. I was a helpless, aroused slave! This now was no role. It was what I was.
     I returned to the back of the dancing floor, piteously, that I might sway before my master, he in the back, by the beaded curtain, gross, loathsome Hendow. He, I felt, of all those in the tavern, would understand what was now within me. I felt I could keep no secrets from him. It seemed he had a way of looking through me, and seeing whatever was within me, no matter how I might try to hide it. But I did not want to hide this from him. Rather I wanted his understanding. I wanted him to offer me comfort, or perhaps even rescue me from the floor. In my fears it was natural that I should seek him out, gross and loathsome though he might be. He was the one who owned me. He was my master.
     Hendow nodded to me, almost imperceptibly. Then, pointing to me, and lifting his finger twice, he indicated I should turn away, and return to my dance, in the center of the floor, facing the crowd.
     I knew the music was approaching its climax, and the dance must be concluded.
     I then, in the coda of my performance, danced helplessness and beauty, and submission, surrendering myself as I, in my collar, must, into the hands and mercies of masters.
     As the music concluded I performed floor movements, and the eyes of the men blazed, and fists pounded on the tables, and then the music was done and I lay before them on my back, my breasts rising and falling as I fought for breath, my body sheened with sweat, my hands beside me, palms up, my knees lifted slightly, my right knee highest, a slave before masters.
Dancer of Gor     Book 22     Pages 190 - 196



 


Whip Dance
To The Top

Already a large, curtained enclosure had been set up near the slave wagon. For a fee, the proprietor of the wagon would permit visitors. These arrangements irritated me somewhat, for customarily the chain dance, the whip dance, the love dance of the newly collared slave girl, the brand dance, and so on, are performed openly by firelight in the evening, for the delight of any who care to watch.
Nomads of Gor     Book 4     Page 147


I watched the dancing girl of Port Kar writhing on the square of sand between the tables, under the whips of masters, in a Paga tavern of Port Kar.
"Your paga," said the nude slave girl, who served me, her wrists chained. "It is warmed as you wished."
I took it from her, not even glancing upon her, and drained the goblet.
She knelt beside the low table, at which I sat cross-legged.
"More," I said, handing her back the goblet, again not deigning to even glance upon her.
"Yes, Master," she said, rising, taking the goblet.
I liked paga warm. One felt it so much the sooner.
It is called the Whip Dance, the dance the girl upon the sand danced.
She wore a delicate vest and belt of chains and jewels with shimmering metal droplets attached. And she wore ankle rings, and linked slave bracelets, again with shimmering droplets pendant upon them and a locked collar matching.
She danced under ships' lanterns, hanging from the ceiling of the paga tavern, it located near the wharf bounding the great arsenal.
I heard the snapping of the whip, her cries.
Raiders of Gor     Book 6     Page 100


     A new dancer came forth upon the floor and began, a tall brute near her with the leather, to perform a whip dance. Girls, some nude, some scantily clad, hurried about the tables, serving food and drink. I looked about, considering the wenches. I did not see Miss Beverly Henderson among them. I did see several, however, whom I would have been delighted to own.
     "Wine, Master?" asked a redheaded girl with two leather straps wound about her body.
I took wine from her, and gave my attention then to the dancer, a luscious, dark-haired girl in the whip dance, though there are various versions of it, depending on the locality, the girl is almost never struck with the whip, unless, of course, she does not perform well. When the whip is cracked, however, the girl will commonly react as though she has been struck. This, conjoined with the music, and her beauty, and the obvious symbolism of her beauty beneath total male discipline, can be extremely, powerfully erotic.
. . .
     I turned my attention to the dancer on the floor. She lay now on her back, one knee lifted, her arms at her sides, palms down, before the brute with his whip, who towered over her. Her head, too, was turned to the side. Then she turned her head to face the brute who tyrannized her. She looked deeply into his eyes. Then, delicately, in a graceful gesture, she turned her hands, putting their backs to the floor, exposing her palms, and the soft flesh of her palms, to him, indicating her surrender, her submission, her vulnerability and her readiness.
     There was applause, the striking of the left shoulder, from the tables.
     The brute then crouched beside her and encircled her neck with the coils of his whip. He drew her to her knees then before him. She looked up at him, her neck in the whip coils, his.
Rogue of Gor     Book 15     Pages 190 - 196


     "Kneel, back on your heels," said the trainer to the dark haired woman. "Straighten your back, suck in your gut, put your shoulders back, thrust out your breasts, spread your knees, widely, lift your chin, put your hands on your thighs. You are not going to be sold as a tower slave, Lady Tina. You are going to be sold as a pleasure slave."
     The whip cracked, and I jumped. But it had not touched the girl, only startled her.
     She knelt behind the dark, smooth post, facing it, her knees on either side of it, her belly and breasts against it, her hands embracing it.
     "This may be done to music," said Hermidorus, "and, as you know, there are many versions to the post dance, or pole dance, singly, or with more than one girl, with or without bonds, and so on, but here we are using it merely as a training exercise.
     The whip cracked again and the girl, suddenly and lasciviously, became active.
     I gasped.
She began to writhe about the pole. "Kiss it, caress it, love it!" commanded the trainer, snapping the whip. "Now more slowly, now scarcely moving, now use your thighs, and breasts more, moving all about it, holding it. Touch it with your tongue, lick it! Use the inside of your thighs more, your breasts, turn about it, slowly, sensuously. Lift your hands above your head, palms to the pole, caressing it. Turn about the pole! Twist about it! Now to your knees, holding it!" He then cracked the whip again. "Enough!" he said. She was then as she had been before, kneeling behind the post, her knees on either side of it, her belly and breasts pressed against it, her hands embracing it.
Kajira of Gor     Book 19     Page 141


     "Tonight," said Ligurious, "I will give her to guardsmen. She will dance the whip dance, naked." There are many whip dances on Gor, of various sorts. In a context of this sort, presumably not in a tavern, and without music, the girl is expected to move, writhe and twist seductively before strong men. If she does not do well enough, if she is insufficiently maddeningly sensuous, the whips fall not about her, but on her. When one of the men can stand it no longer he orders her to his mat where, of course, she must be fully pleasing. If he is not, then she is whipped until she is. Then, when one man is satisfied, the dance begins again, and continues in this fashion until all are satisfied, or tire of the sport.
. . .
     "Is it hard to learn the whip dance?" I asked.
     "I am not a dancer, Mistress," said Susan, "nor are most who perform the dance. It is not even, really, a dance. One simply has one's clothes taken away, and then one moves before strong, powerful men as such men would have a woman move before them. Then when one is sufficiently pleased, he indicates this and you serve his pleasure."
     "How do you know what to do?" I asked.
     "Sometimes one tries different things," she said, "for example, about or on the furniture, on the floor, about their bodies, at their feet, on your back, on your belly, hoping to find something that they will respond to. Sometimes they give you explicit instructions or commands, as when a woman is put through slave paces. Sometimes they guide you, or help you, sometimes by the whip, sometimes by expressions or cries. At other times the girl listens, so to speak, to the slave fires in her belly, and seems to become one with them and the dance, and then, soon, must beg the brutes, in her dance, and by her piteous expressions and gestures, to relieve the merciless tensions in her body, allowing her to complete the cruel cycle of arousal, allowing her to receive them and submit to them, the masters, in the spasmodic surrender of the helpless slave."
Kajira of Gor     Book 19     Pages 157 - 160


The dancer was now kneeling in the sand, her head bowed, waiting for the first strumming of the kalika. She was nicely silked, in the diaphanous dancing silks of Gor. Her hair, long and dark, fell to the sand.
. . .
A whispering sentence of notes emanated from the kalika, and the dancer rose gracefully to her feet, her knees flexed, her head still bowed, her hands at her thighs.
. . .
"Ho, the whip dance," said Cabot, returning his attention to the dancing sand.
. . .
At certain points in this dance the whip snaps and the dancer reacts as though she was struck with the whip. If she does not do well, of course, she will feel the whip.
. . .
There was a final, loud snap of the whip, and the dancer threw herself, half kneeling, half sitting, to the sand, and lifted one hand, piteously, to the fellow who had conducted his part of the whip dance.
Kur of Gor     Book 28     Pages 165 - 168

At that moment there was an exciting skirl of music, a flash of bells, a burst of color, a jangle of beads, and a cry of enthusiasm from the patrons, and a dancer was on the floor.
After her entry she stood silent, not moving, posed, ready, on the floor. I could sense the anticipatory even the difference in breathing, of the men. Then the music began, softly, slowly, and the dancer, looking about herself began to move, obedient to the melody of masters.
"Is she a slave?" I asked.
"Certainly," said he in whose charge I was. "It may be hard to see, beneath the necklaces, so many of them, but there is a collar there, close-fitting, steel, and locked."
"Much as mine," I said.
"Yes," he said.
"She is so beautiful," I said. "She is so soft, so feminine, so utterly female, so vulnerable, so needful."
"A slave," said Lykos.
"It is so beautiful," I said. "What is it called?"
"It is a form of dance fit for slaves, is it not?" he said.
"Yes," I breathed, awed, rapt.
"Slave dance," said he in whose charge I was.
"Slave dance," I whispered.
"Yes," he said.
"I have seen something like it," I said, "on my former world, but I scarcely dared look upon it."
"It spoke to you of things which stirred you, things for which you longed, but which you feared, spoke to you of a distant, or forgotten, world, one a thousand times more real, I suspect, than that which you knew. It spoke to you of how women might be before men, as slaves, and how men might look upon women, as masters."
"Yes," I whispered, "but here it seems somehow different."
"It is different here," he said, "for this is such a world."
"I think I know this dance, or sort of dance," said Astrinax.
"It will have its phases, its swiftness, and its slowness, its emotions, insolence, pride, defiance, apprehension, recognition, feat, struggle, defeat, surrender, and submission."
I heard, it startling me, the cracking of a whip. The dancer reacted, as though struck, but the blade had not touched her. Occasionally it snapped again, and again, and, at the end of the dance, as is often the case in such dance, the dancer is prostrate, clearly submitted and owned. In this particular dance she was kneeling and the fellow with the whip was behind her. He placed the whip coiled, against the back of her neck, and she lowered her head. The men about voiced their approval, and several smote their left shoulders with their right hand. Others uttered trilling noises or staccato bursts of sound. Others pounded on the tables. She then sprang to her feet and hurried from the floor, followed by the fellow with the whip.
Conspirators of Gor     Book 31     Pages 349 - 351




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