| Gorean Dance Continued |
| Hate/Rebellion dances: These dances are not described much though it is obvious they are meant to show certain emotions. They allow a girl to show hatred and rebellion toward their master but that is not how they will end. Each of these dances conclude with the ultimate surrender of the girl to her Master as his love slave. Like the command, "show rebellion," these can be cruel dances to make a girl dance Landa Dance On the island of landa, located north of Anango and close to the shore, girls learn how to dance using their hands and beads to form certain figures which have symbolic meaning. Some of these figures include a Free Woman, whip, yielding collared slave, thieving slave, terrified girl summoned before her Master, girl meeting one with the plague, obedience and joy. It would be similar in some ways to the sign language of the Red Savages though beads are also used in this dance. Few girls outside of landa whould know this form of dance. Leash Dance Performed on the leash, sensuously and wantonly. Similar to the Tether dances. The shaking of the leash once firmly begins the dance. Mat Dance This is another dance that is not described much in the books. It is performed on a slave mat and consists of many floor movements. Netted Slave Dance This dance will begin with a number of slaves writhing in a net on the floor. There will be some girls dressed as slave hunters though they can clearly be seen as slaves. The "hunters" use light staffs, pretending to prod and torment the girls in the nets. Much skilled staff work may be involved. Near the finish of the dance, the "captives" will be proudly displayed. Then, upon the snap of a slave whip, the "hunters" will strip and join the captives. A larger net will then be used to cover all of the slaves Placatory dances "There are many forms of placatory dances which are performed by female slave. 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 o the girl in question. Gor 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 for form 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-formed 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, pg 332-335 |
| "Another girl, a slim blonde, was thrust into the circle. Her master, arms folded, regarded her. She lifted her chained wrists above her head, palms facing outwards, this, because of the linkage of the manacles, tightening it, bringing the backs of her hands closely together. She faced her Master. Desperate was she to please him. There was a placatory aspect to her dance. It seemed she wished to divert his wrath. "Ahh," said Marcus. "Look!" He was indicating the slim blonde, she with the chained wrists, whose dance before her Master seemed clearly placatory in nature. She had perhaps begged to be permitted to appear before him in the dancing circle, that she might attempt to please him. He had perhaps acquiesced. I recalled he had thrust her into the circle, perhaps in this generously according her, though perhaps with some impatience, and misgivings, this chance to make amends for some perhaps unintentional, miniscule transgression. Perhaps his paga had not been heated to the right temperature... The blonde was on her knees, extending her hands to her Master, piteously, all this with the music in her arms, her shoulders, her head and hair, her belly. Her Master seized her from the circle then and hurried her from the light... I thought the blonde had very successfully managed to divert the Master's wrath, assuming that was what she was up to. The only whip she need fear now, muchly, at any rate, would seem to be the "whip of the furs." To be sure, she might be given a stroke or two, if only to remind her that she was slave." Magicians of Gor, page 44-46 POLE DANCE "The slave will attempt to arouse and entice the pole or "Master" with erotic movements that involve her touching and caressing "Him" (the pole), beckoning her use by "Him". This dance can be done either by securing her to the pole or she may remain free from the pole, swirling around in frantic and heated" movements. Blood Brothers of Gor, Page 39 "Suddenly, the two men with the kaiila quirts struck her across the back and, before she could do more than cry out, she was, too, pulled to her feet and forward, on the two tethers. She then stood, held by the tethers, wildly, before the pole. Cancega pointed to the pole. She looked at him, bewildered. Then the quirts, again, struck her, and she cried out in pain. Cancega again pointed to the pole. Winyela then put her head down and took the pole in her small hands, and kissed it, humbly. "Yes," said Cancega, encouraging her. "Yes." Again Winyela kissed the pole. "Yes," said Cancega. Winyela then heard the rattles behind her, giving her her rhythm. These rattles were then joined by the fifing of whistles, shrill and high, formed from the wing bones of the taloned Herlit. A small drum, too, then began to sound. Its more accented beats, approached subtly but predictable, instructed the helpless, lovely dancer as to the placement and timing of the more dramatic of her demonstrations and motions. "It is the Kaiila," chanted the men. Winyela danced. There was dust upon her hair and on her body. On her cheeks were the three bars of greases that marked her as the property of the Kailla. Grease, too, had been smeared liberally upon her body. No longer was she a shining beauty. She was now only a filthy slave, an ignoble animal, something of no account, something worthless, obviously, but nonetheless permitted, in the kindness of the Kaiila, a woman of another people, to attempt to please the pole. I smiled. Was this not suitable? Was this not appropriate for her, a slave? Winyela, kissing the pole, and caressing it, and moving about it, and rubbing her body against it, under the directions of Cancega, and guided sometimes by the tethers on her neck, continued to dance. I whistled softly to myself. "Ah," said Cuwignaka. "It is the Kaiila!" chanted the men. "I think the pole will be pleased," I said. "I think a rock would be pleased," said Cuwignaka. "I agree," I said. Winyela, by the neck tethers, was pulled against the pole. She seized it, and writhed against it, and licked at it. "It is the Kaiila!" chanted the men. "It is the Kaiila!" shouted Cuwignaka. A transformation seemed suddenly to come over Winyela. This was evinced in her dance. "She is aroused," said Cuwignaka. "Yes," I said. She began, then, helplessly, to dance her servitude, her submission, her slavery. The dance, then, came helplessly from the depths of her. The tethers pulled her back from the pole and she reached forth for it. She struggled to reach it, writhing. Bit by bit she was permitted to near it, and then she embraced it. She climbed, then, upon the pole. There her dance, on her knees, her belly and back, squirming and clutching, continued... Winyela now knelt on the pole and bent backwards, until her hair fell about the wood, and then she slipped her legs down about the pole and lay back on it, her hands holding to the pole behind her head. She reared helplessly on the pole, and writhed upon it, almost as though she might have been chained to it, and then, she turned about and lay on the pole, on her stomach, her thighs gripping it, her hands pushing her body up, and away from the pole, and then, suddenly, moving down about the trunk, bringing her head and shoulder down. Her red hair hung about the smooth, white wood. Her lips, again and again, pressed down upon it, in helpless kisses.... Winyela, helplessly, piteously, danced her obeisance to the great pole, and, in this, to her master, and to men... In her dance, of course, Winyela was understood to be dancing not only her personal slavery, which she surely was, but, from the point of view of the Kaiila, in the symbolism of the dance, in the medicine of the dance, that the women of enemies were fit to be no more than the slaves of the Kaiila. I did not doubt but what the Fleer and the Yellow Knives, and other peoples, too, might have similar ceremonies, in which, in one way or another, a similar profession might take place, there being danced or enacted also by a woman of another group, perhaps even, in those cases, by a maiden of the Kaiila. I, myself, saw the symbolism of the dance, and, I think, so, too, did Winyela, in a pattern far deeper than that of an ethnocentric idiosyncrasy. I saw the symbolism as being in accord with what is certainly one of the deepest and most pervasive themes of organic nature, that of dominance and submission. In the dance, as I chose to understand it, Winyela danced the glory of life and the natural order; in it she danced her submission to the might of men and the fulfillment of her own femaleness; in it she danced her desire to be owned, to feel passion, to give of herself, unstintingly, to surrender herself, rejoicing, to service and love. "It is the Kaiila!" shouted the men. "It is the Kaiila!" shouted Cuwignaka. Winyela was dragged back, toward the bottom of the pole on its tripods. There she was knelt down. The two men holding her neck tethers slipped the rawhide, between their fist and the girl's neck, under their feet, the man on her left under his right foot, and the man on her right under his left foot. But already Winyela, of her own accord, breathing deeply from the exertions of her dance, and trembling, had put her head to the dirt, humbly, before the pole. Then the tension on the two tethers was increased, the rawhide on her neck being drawn tight under the feet of her keepers. I do not think Winyela desired to raise her head. But now, of course, she could not have done so had she wished. It was held in place. I think this is the way she would have wanted it. This is what she would have chosen, to be owned, to serve, to be deprived of choice. The tethers were removed from Winyela's neck. She then, tentatively, lifted her head. It seemed now she was forgotten." Blood Brothers of Gor, Page 35 and Kajira of Gor, Page 141 |
| Rence Girl Dance The Rencer Caste live in the swamps and marshes of the Vosk Delta. The dances of rence girls are unique on Gor. The is some savagery in their dances but also stately and stylized aspects. There are movements reminiscent of the casting of nets, poling of marsh craft, weaving rence or hunting gants. But, their dances all eventually become the dances of women who desire men. Even the shiest of girls will become quite wanton. In the Rencer community, it signals the end of childhood when a girl first dances. The dances are usually done in a circle at their occasional festivals. Only single women are permitted to dance and after the dance, they will pair off with the single men. Submission Dance "The first dance va will learn is Dance of Submission. Why this dance?, va may ask. This dance shows va dedication to be kajira. it shows va are ready to submit and give all to Master or to the Inn. this dance has no specific steps, as each dance is an individual creation of va. va may do most anything, that shows va submission. Performed for the girl's true Master, each dance is different and unique, as is each Freeperson. It can be done in many ways, from the kajira allowing her hands to roam her own body in throbbing lust for her Master, to the girl writhing in desire and submitting at His feet." Dancer of Gor, page 190 |
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