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GENERAL   
           Slave Dance    Variety of Slave Dances    Dancers    Training of Dancers   
           Ornamentation and dresses    Music and setting   

TYPES OF SLAVE DANCES   
           Beads Dance    Belt Dance   Chain Dance   Drum Dance   Leash Dance   Need Dance    Net Dance   
           Placatory Dance   Pole Dance   Sa-eela Dance   Tether Dance   Tile Dance  
           Six Thongs Dance    Veil Dance   Virgin Dance    Whip Dance   

OTHER DANCES   
           Dance for the Captor  
           Love Dance of the Newly Collared Slave Girl  
           First Dance of an Earth Girl  
           First Dance of a New Slave  
           Love Dance of the Walled Gardens of Ar  
           The Passion Dance of a Nude Slave Girl   
           A Cosian Girl Dances to the "Hope of Tina"   
           Feiqa Dances in the Alar Camp   
           Tuka Dances   
           Flute Dance   
           Dances on the block   

Panther Dances   

FREE WOMEN   
           General    Dance of the Rencer Girls   

Free Men Dances  
           The Ship Dance   
           The Larl Hunters Dance   
           The Oar Dance of Torvaldsland   



By Ingres

GENERAL

Slave Dance

"Slave dance, that form of dance, in its thousands of variations, in which a female may excitingly and beautifully, marvellously and fulfillingly, express the depths and profoundities of her nature. In such dance the woman moves as a female, and shows herself as a female, in all her excitingness and beauty. It is no wonder that women love such dance, in which dance they are so desirable and beautiful, in which dance they feel so free, so sexual, so much a slave."
"Magicians of Gor" Page 44

"'Have you ever seen slave dance?' I asked.
'You have no idea, then,' I said, 'of its incredible sensuousness and beauty, and how a woman appears in it, how exciting, desirable, and owned, and of how men, seeing it, can cry out with need?'
'There are various movements in slave dance,' I said, 'of the hips, the belly, and such, indeed, of the entire body, which are clearly akin to, and reminiscent of, the movements of love and need.
'To be sure, in the dance,' I said, 'these movements tend to be under much stricter control. The dance is, after all, an art form. Nonetheless it is clear that the sexuality of the dancer is not uncommonly aroused. After all, it is hard for a woman to be beautiful and sensuous without feeling beautiful and sensuous, and it is hard for her to feel beautiful and sensuous without having her sexuality ignited. Indeed, few are the dancers who have not upon occasion, even in the dance itself, succumbed to orgasmic helplessness. This can occur to them while they are on their feet, but more often it will occur during floor movements or when they are on their knees.'"
"Magicians of Gor" Page 353/4

"On Gor, dance of the sort in which I was expected to perform, is called, simply, 'slave dance.' That is presumably because it is a form of dance which, for the most part, is thought to be fit only for slaves, and would be performed only by, slaves. The thought crossed my mind that the lovely woman who had been my teacher on Earth had once remarked to me, 'We are all slaves.' I think that is true."
"Dancer of Gor" Page 172

"'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. Perhaps what is done in slave dance on Gor would count as 'exotic dance' on Earth, but, if we are thinking of the actual kinds of dances performed, then there is much in slave dance, for example, story dances, which are seldom, if ever, included in 'exotic dance' on Earth, and there are forms of dance in 'exotic dance' which, for one reason or another, are seldom, if ever, seen on Gor, for example, certain forms of carnival dancing, such as bubble dancing or fan dancing. Perhaps the reason such dances are seldom, if ever, seen on Gor, is that Goreans would not be likely to regard them as being 'real dance.' They would be regarded, I think, as little more than culturally idiosyncratic forms of commedic teasing. They are, at any rate, not the sort of dance, or the "danse-du-ventre" sort, so pleasing to strong men, which a slave on Gor, fearing the whip, must often learn to perform."
"Dancer of Gor" Page 172

"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."
"Explorers of Gor" Page 361

"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."
"Explorers of Gor" page 362

"The form of dance to which I had been drawn on Earth, for whatever reason or reasons, whether because of some sort of feared innate, ungovernable sensuousness, or extreme deep-seated feminine dispositions or needs, or perhaps even, simply, a sense of what was appropriate for me, whether I wished it or not, considering the realities of my ultimate nature, I had preferred to think of as 'ethnic dance.' I had been secretly thrilled, of course, but had scarcely dared, even to myself, to think of it as 'belly dance,' or, as the French have it 'dense du ventre,' a term popular with some, with some perhaps as a euphemism, and with others as a sensuous way of expressing the matter, one with the same objective meaning as 'belly dancing' but which, for them, perhaps, has rich and special connotations. To be sure, both terms are in a sense reductive misnomers, for in this form of dance, as in other forms of dance, the dancer dances with her entire body and beauty. I had never cared too much for the term 'exotic dance' as that term seems to me too broad, in that it covers not only 'ethnic dance,' if, indeed, it really covers that, but many other forms of dance as well, which seem to have little in common other than their capacity to be sexually stimulatory. But then, to a discerning eye, most, or all, dance, and certainly ballet, for example, is sexually stimulatory. Those who fear and hate sex have, I think, understood these things better than many others, for example, low-drive individuals and the sexually inert."
"Dancer of Gor" Page 171/2

"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."
"Blood Brothers of Gor" Page 42/3

"At the moment she writhed upon the 'slave pole,' it fixing her in place. There is no actual pole, of course, but sometimes it is difficult to believe there is not. The girl imagines that a pole, slender, supple, swaying, transfixed her body, holding her helplessly. About this imaginary pole, it constituting a hypothetical center of gravity, she moves, undulating, swaying, sometimes yielding to it in ecstasy, sometimes fighting it, it always holding her in perfect place, its captive. The control achieved by the use of the 'slave pole' is remarkable. An incredible, voluptuous tension is almost immediately generated, visible in the dancers body, and kinetically felt by those who watch."
"Tribesmen of Gor" page 11

"That night, in my bonds, for hours, I had wept and squirmed. I was then a virgin. I did not even know, fully, then, what a man could do to me. Yet, even then, had I been told how it is that girls of a certain sort, of a sort which I was soon to find myself to be, could sometimes in their need scream and writhe in the grass, could sometimes dance wildly beneath the moons, clawing at them, could sometimes tear their fingernails bloody scratching at the cement of their kennels, could somemties bruise their bodies hurling them against the bars of their cells or tear their flesh pulling against their shackles to touch a guard, I would have dimly understood. How cruel men are sometimes, not to satisfy a woman."
"Slave Girl of Gor" page 51

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Variety of Slave Dances

"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, 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" page 288/9

"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. 'They all wear collars,' is the first portion of a familiar exchange, of which Goreans are fond. The second, and concluding, portion of the exchange is, 'But each in her collar is different.' This exchange, I think, makes clear the attitude of the Gorean toward the slave girl. In one sense, she is nothing, and is to be treated as such, but, in another sense, she is precious, and is everything."
"Guardsman of Gor" page 260

"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 she 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."
"Kajira of Gor" page 157

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Dancers

"The dancing girls of Port Kar are said to be the best of all Gor. They are sought eagerly in the many cities of the planet. They are slave to the core, viscious, treacherous, cunning, seductive, sensous, dangerous, desirable, excruciatingly desirable."
"Raiders of Gor" page 100

"The Gorean dancer is expected, usually, to sayisfy the passions she arouses."
"Players of Gor" page 26

"The true dancing girl, who has a great aptitude for such matters, and years of experience, is a marvel to behold, for she seems always different, subtle and surprising. Some of these girls, interestingly, are not even particularly beautiful, though in the dance they become so. I expect a great deal has to do with the girl's sensitivity to her audience, with her experience in playing to, and interacting with, different audiences, teasing and delighting them in different ways, making them think suddenly, by contrast, startling them, astonishing them and driving them wild with the madness of their desire for her. Such a girl, after a dance, may snatch up dozens of gold pieces from the sand, putting them in her silk, scurrying back to her master."
"Assassin of Gor" page 91

"Only too obviously was this a trained dancer, and yet, too, there was far more than training involved. Too, I speak not of such relatively insignificant matters as the mere excellence of her figure for slave dance, as suitable and fitting as it might be for such an art form, for women with many figures can be superb in slave dance, or that she must possess a great natural talent for such a mode of expression, but something much deeper. In the nature of her dance I saw more than training, her figure, and her talent. Within this woman, revealing itself in the dance, in its rhythm, its joy, its spontaneity, its wonders, were untold depths of femaleness, a deep and radical femininity, unabashed and unapologetic, a rejoicing in her sex, a respect of it, a love of it, an acceptance of it and a celebration of it, a wanting of it, and of what she was, a woman, a slave, in all of its marvellousness."
"Magicians of Gor" page 53/4

"As the female by nature has feminine dispositions, needs, instincts and aptitudes, such things being genetically coded within her, functions of her behavioral genetics, as opposed to her property genetics, controlling such matters as eye and hair color, there is a template, or readiness, for self-surrender, service, sensuousness and love within her. These are, of course, familiar aspects of the female slave. Accordingly the readiness for, and the aptitude for, slave dance, so intimately associated with beauty and sexuality, displaying the female in her marvelousness, excitingness and need, scarcely need be noted."
"Magicians of Gor" page 300

"Dancers have many uses on Gor, both public and private. I suppose this is only to be expected, given the vitality, the masculinity, the strength of Gorean males. Any female taken to gor, I suppose, must expect to learn at least the rudiments of slave dance."
"Dancer of Gor" page 357

"Still I was a dancer, and we tend to bring higher prices. We are useful not only in brothels, cabarets, taverns, public pleasure gardens, and such, but wherever there are strong men, wherever there are men who enjoy seeing a woman move before them excitingly, and beautiffully, and as a total female. Indeed, it is said some of the finest and most sensous dancers are private slaves who perform in delicious secrecy, and totally, for a single master."
"Dancer of Gor" page 357

"Some of us, too, serve as imbonded camp followers, and will count as part of the loot should the camp fall into enemy hands. Some of us serve, too, in remote army posts, where we are kept to relieve the tedium of the troops. Some, too, of course, as would be expected, serve in the houses of rich men and even in the palaces of Ubars, where we commonly dance for them at their suppers, entertaining them and their guests."
"Dancer of Gor" page 357

"We, and our uses, of course, may also be rented out for private dinner parties, for banquets and feasts, and such."
"Dancer of Gor" page 357

"Then I knew I did not want to dance poorly. Out there were men, real men, many of whom excited and stirred me, even in my virgin's belly. I could scarcely imagine what it might be to be helpless in their arms, and at their power, as a slave. I saw the men, even now, looking at me! I could sense the heat and desire in them. They would not compromise with a woman like me. They would want her too much. They would throw her to their feet. They would dominate and master me, mercilessly! I was a female. In the arms of no other sort of man could I be fulfilled!"
"Dancer of Gor" page 192

"In the dance I had power. In the dance I was beautiful. I saw delight in the eyes of men."
"Dancer of Gor" page 193

"Actresses need only be actresses. They need not be dancers. But she who is a dancer must be more than a dancer. She must be an actress, as well."
"Dancer of Gor" page 194

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Training of Dancers

"'Yes, pretty Alyena,' I said to her, 'I will have you taught to dance, for in your belly is slave fire.'
Alyena, in dancing, sensed the power of Ibn Saran. It is not difficult for a female dancer, lightly clad, displaying her beauty, to detect where among those who watch her lies power. I am not sure precisely how this is done. Doubtless, to some extent, it has to do with richness of raiment. But even more, I suspect, it has to do with the way in which they hold their bodies, their assurance, their eyes, as they, as though owning her, observe her. A woman finds herself looked upon very differently by a man who has power and one who does not. Instinctively, of course, to be looked upon by a man with power thrills a woman. They desire, desperately, to please him. This is particularly true of a slave girl, whose femaleness is most shamelessly and brazenly bared. Ibn Saran, languid, observed the dancer. His face betrayed no emotion. He, sipped his hot black wine.
Alyena threw herself to the floor before him, moving to the music. I saw her turn, and twist, and writhe, and move, and, on her belly, hold out her hand to him.
Her lessons, which had been intensive, once we had arrived at the Oasis of Nine Wells, had cost little, and had, in my opinion, much increased her value, doubling or tripling it. T'he modest cost of the lessons had been, in my opinion, an excellent investment. My property had now increased, considerably, in value. But most credit, surely, had to go to the girl herself. With fantastic diligence had she applied herself to her lessons, and practices. Even so small a thing as the motion of the wrist she had practiced for hours.
Her teacher was a cafe slave girl, Seleenya, rented, from her master; her musicians were a flutist, hired early, and, later, a kaska player, to accompany him.
Once I saw her, naked, covered with sweat and bangles, in the sand.
'Have you had to beat her often?' I asked Seleenya.
'No,' said the slave girl. 'I have never seen a girl so eager,' she said.
'Play,' said I to the musicians.
They played, until I, by lifting a finger, silenced them. At the same time, too, Alyena froze in the sand, her right hand high, left band low, at her hip, her head bent to the left, eyes intent on the fingers of her left hand, as though curious to ' see if they would dare to touch her thigh; then she broke the pose, and threw back her head, breathing deeply. There was sand on her ankles and feet; perspiration ran down her body.
I motioned her to her feet. I signaled the musicians. She danced.
I observed her. I thought it not unlikely this slave might stir the interest o a man of means.
'Resume your practices,' I told her.
The musicians began again, and again the girl danced. It was superb. And it was incredible. She did not yet know she was a true slave. What a little fool she was. I watched her move.
She smiled at me, disdainfully. I considered her blond hair, now wild about her head as, suddenly, she entered into a series of spins. Her gaze focused to the last moment on a spot across the room from her, and then, suddenly, on each spin, her head snapped about, and she again found the focus. Then she finished the spins, and froze, hands over her head, body held high, stomach in, right leg flexed and extended, toes only touching the floor. Then she was again in basic position. Her white skin, in itself, in the Tahari, would bring a good price. Blond hair and blue eyes, too, in this region, made her a rare specimen. But beyond these trivialities, though of considerable commercial import, was the fact that she was beautiful, both in face and figure.
Behind me, as I thrust apart the beads, I heard the pounding of the drum, the kaska, the silence, then the sound, as the flutist, his hands on her body, to the sound of the drum, instructed the girl in the line-length and intensity of one of the varieties of pre-abandonment pelvic thrusts.
'Less,' he said. 'Less. There must be more control, more precision. You are being forced to do this, but you are holding back. You are angry. This must show in your face.'
'Please do not touch me so, Master,' she said.
"Be silent,' he said to her. 'You are slave.'"
Tibesmen of Gor" 100/4

"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, wand 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" page 141

"The drummer and the flautist prepared once more to play. The girl in the long, light chain smiled at me. She, at any rate, was pleased by my response.
A wrist ring was fastened on her right wrist. The long, slender, gleaming chain was fastened to this and, looping down and up, ascended gracefully to a wide chain ring on her collar, through which it freely passed, thence descending, looping down, and ascending, looping up, gracefully, to the left wrist ring. If she were to stand quietly, the palms of her hands on her thighs, the lower portions of the chain, those two dangling loops, would have been about at the level of her knees, just a little higher. The higher portion of the chain, of course, would be at the collar loop.
The musicians began again to play. There is much that can be done with such a chain. It was a dancing chain. Its purpose was not to confine the girl but to allow her to incorporate it in her dance, enhancing the dance with its movements and beauty. It is, of course, symbolic of her bondage, this adding fantastic dimensions of significance to the dance. It is not merely a beautiful woman who dances, but one who can be bought and sold, one who is subject to male ownership. Too, of course, the wrist rings, and the collar, are truly locked on her. There is no doubt about it. It is a slave, with all that that means, who is dancing."
"Kajira of Gor" Page 142/3

"'These women,' said Hermidorus, 'are practicing their floor movements.' A trainer stood among them, with a whip. Occasionally he would snap this whip near a girl. I did not doubt but what the girls on the tiles, if they were found sufficiently displeasing to the trainer, or too frequently required the admonitory signal of the cracking leather, would soon hear the snap of the lash not in their mere vicinity but on their own bared bodies. Two of the girls, I saw, had stripes on them, one on the thigh, and one on the side. The trainer was not now paying them much attention. They were now, apparently, doing well."
"Kajira of Gor" page 142

"I moved, warming up, preparing my muscles, I was intent and careful. A dancer, of course, does not simply begin to dance. That can be dangerous. She warms up. It is like an athlete warming up, I suppose."
"Dancer of Gor" page 25

"In the latter range of our studies some of the girls were even instructed in the rudiments of what, perhaps for lack of a better word, might be described, using the Earth expression, as 'ethnic dance.' It did not surprise me that the men of this world, who seemed to have such a lust for, and such a relish for, and appreciation of, females, would command such dance of them. I gathered this form of dance was quite common here and that it might be required of any female, or any female of our sort."
"Dancer of Gor" page 70

"It is good for them to get the practice, hearing and seeing men respond to them. That is the way to learn what truly pleases men. In the end, I say, it is men who teach women to dance."
"Assassin of Gor" page 91

"Any female taken to gor, I suppose, must expect to learn at least the rudiments of slave dance."
"Dancer of Gor" page 357

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Ornamentation and Dresses

"She stood before me in the diaphanous, scarlet dancing silks of Gor. She had rouged her lips. My head swam at the sudden intoxicating scent of a wild perfume. Her olive ankles bore dancing bangles with tiny bells. Attached to the thumb and index finger of each hand were tiny finger cymbals. She bent her knees ever so slightly and raised her arms gracefully above her head. There was a sudden bright clash of the finger cymbals, and to the music of the nearby tent, Talena, daughter of the Ubar of Ar, began to dance for me."
"Tarnsman of Gor" page 134

"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."
"Tarnsman of Gor" page 135

Kron clapped his hands again and to my surprise there was a sudden sound of bells and four terrified girls, obviously chosen for their beauty and grace, stood before our table clad only in the scarlet dancing silks of Gor. They threw back their heads and lifted their arms and to the barbaric cadence set by the musicians danced before us.
"Why are they dancing for you?" asked Lara.
"They will be whipped if they do not," said Kron.
Lara's eyes dropped.
"You see the collars," said Kron pointing to the slender graceful bands of silver each girl worse at her throat. "We melted the masks and used the silver for the collar."
When Kron had tired of watching the dancers he clapped his hands twice and with discordant jangle of their ankle bells they fled the room."
"Outlaw of Gor" page 225/6

"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."
"Nomads of Gor" page 159

"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."
"Assassin of Gor" page 228

"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."
"Raiders of Gor" page 100

"I noted, too, that, clad in yellow silk, belled on the left ankle, as another paga girl, the dancer, carried a vessel of paga about."
"Hunters of Gor" Page 62

"The girl wore Gorean dancing silk. It hung low upon her bared hips, and fell to her ankles. It was scarlet, diaphanous. A front corner of the silk was taken behind her and thrust, loose and draped, into the rolled silk knotted about her hips; a back corner of the silk was drawn before her and thrust loosely, draped, into the rolled silk at her right hip. Low on her hips she wore a belt of small denomination, threaded, overlapping golden coins. A veil concealed her muchly from us, it thrust into the strap of the coined halter at her left shoulder, and into the coined belt at her right hip. On her arms she wore numerous armlets and bracelets. On the thumb and first finger of both her left and right hand were golden finger cymbals. On her throat was a collar."
"Tribesmen of Gor" page 8

"I regarded the coins threaded, overlapping, on her belt and halter. They took the firelight beautifully. They glinted, but were of small worth. One dresses such a woman in cheap coins; she is slave."
"Tribesmen of Gor" page 8

"She wore a golden metal dancing collar about her throat, golden chains looped from her wrists, gracefully to the collar ring, then fell to her ankles; there are varieties of Tahari dancing chains; she wore the oval and collar; briefly, in readying a girl, after she has been belled and silked, and bangled, and has been made up, and touched with slave perfume, she kneels, head down in a large oval of light gleaming chain, extending her wrists before her; fastened at the sides of the top of the oval are two wrist rings, at the sides of the lower loop of the oval two ankle rings; the oval is then pulled inward and the wrist and ankle rings fastened on the slave; her throat is then locked in the dancing collar, which has, under the chin, an open snap ring; with the left hand the oval is then gathered together, so the two strands of chain lie in the palm of the left hand, whence, lifted, they are placed inside the snap ring, which is then snapped shut, and locked; the two strands of chain flow freely in the snap ring; accordingly, though the girl's wrists and ankles are fastened at generous, though inflexible limits from one another, usually about a yard for the wrists and about eighteen inches for the ankles, much of the chain may be played through, and back through, the collar ring; this permits a skillful girl a great deal of beautiful chain work; the oval and collar are traditional in the Tahari; it enhances a girl's beauty; it interferes little with her dance, though it imposes subtle, sensuous limits upon it; a good dancer uses these limits, exploiting them deliciously; for example, she may extend a wrist, subtly holding the chain at her waist with her other hand; the chain slides through the ring, yet short of the expected movement; the chain stops her wrist; her wrist rebels, but is helpless; it must yield; her head falls; she is a chained slave girl."
"Tribesmen of Gor" page 215

"That night, in my bonds, for hours, I had wept and squirmed. I was then a virgin. I did not even know, fully, then, what a man could do to me. Yet, even then, had I been told how it is that girls of a certain sort, of a sort which I was soon to find myself to be, could sometimes in their need scream and writhe in the grass, could sometimes dance wildly beneath the moons, clawing at them, could sometimes tear their fingernails bloody scratching at the cement of their kennels, could somemties bruise their bodies hurling them against the bars of their cells or tear their flesh pulling against their shackles to touch a guard, I would have dimly understood. How cruel men are sometimes, not to satisfy a woman."
"Slave Girl of Gor" page 51

"I then gave my attention to the dancer, a sweetly hipped black girl in yellow beads."
"Explorers of Gor" page 133

"The girl was naked, save that she wore many strings of jewels and armlets. Too, she wore bracelets and anklets of gold, which had been locked upon her, and were belled. Her collar, too, was of gold, and belled. A single pearl, fastened in a setting like a droplet, on a tiny golden chain, was suspended at the center of her forehead."
"Rogue of Gor" page 10/1

"The proprietor of the tavern took the red-haired dancing girl by the arm, she crying out, and thrust her in her costume, ten slender silver chains, five before and five behind, depending from her collar, from the sand."
"Rogue of Gor" page 57

"I could hear the jewelry on me, the tiny sounds of the skirt. Bells, too, marked these movements. I was belled. These I had fastened, in three lines, they fastened on a single thong, about my left ankle. Men, I sensed, somehow, would relish an ornamented woman, perhaps even one who was shamefully belled."
"Dancer of Gor" page 25

"I heard bells coming, from down the corridor, from within. I was still on my knees. Sita hove into sight, returning to the floor. She paused, looking down at me, kneeling there, clutching the sheet about me, frightened. She was naked, except for her collar, and some beads, colorful, cheap wooden beads, slave beads, and her bells, on her left ankle."
"Dancer of Gor" page 172

"I felt metal anklets being thrust on my ankles by Tupita and Sita, They put several on each ankle. They then, similarly, placed narrow bracelets on both my wrists, several on each wrist. A long belt of cord, to which were attached numerous metal disks, suspended and shimmering, was then looped twice about me, the first loop secured high, and tight, at my waist, and the second loop, a larger loop, a framing loop, was secured in such a way, in the back, that it would hang quite low on my belly, well below my navel. The purpose of this belt was to call attention to, and enhance, by sound and sight, the movements of the hips and abdomen. With the slave beads I already wore I felt inutterably displayed, and barbaric. I could not move now without the sounds of the beads, the anklets and bracelets, the shimmering belt with its two loops."
"Dancer of Gor" page 191

"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."
"Dancer of Gor" page 193

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Music and Setting

"To the barbaric, intoxicating music of the flute and drums, she dances for her captor, the bells on her ankles marking each of her movements, the movements of a girl stolen from her home, who must now live to please the bold stranger whose binding fiber she had felt, whose collar she wore."
"Outlaw of Gor" page 54

"To one side, across a clearing from the fire, a bit in the background, was a group of nine musicians. They were not as yet playing, though one of them was absently tapping a rhythm on a small hand drum, the kaska; two others, with stringed instruments, were tuning them, putting their ears to the instruments. One of the instruments was an eight-stringed czehar, rather like a large flat oblong box; it is held across the lap when sitting cross-legged and is played with a hom pick; the other was the kalika, a six-stringed instrument; it, like the czehar, is flat-bridged and its strings are adjusted by means of small wooden cranks; on the other hand, it less resembles a low, flat box and suggests affinities to the banjo or guitar, though the sound box is hemispheric and the neck rather long; it, too, of course, like the czehar, is plucked; I have never seen a bowed instrument on Gor; also, I might mention, I have never on Gor seen any written music; I do not know if a notation exists; melodies are passed on from father to son, from master to apprentice. There was another kalika player, as well, but he was sitting there holding his instrument, watching the slave girls in the audience. The three flutists were polishing their instruments and talking together; it was shop talk I gathered, because one or the other would stop to illustrate some remark by a passage on his flute, and then one of the others would attempt to correct or improve on what he had done; occasionally their discussion grew heated. There was also a second drummer, also with a kaska, and another fellow, a younger one, who sat very seriously before what appeared to me to be a pile of objects; among them was a notched stick, played by sliding a polished tem-wood stick across its surface; cymbals of various sorts; what was obviously a tambourine; and several other instruments of a percussion variety, bits of metal on wires, gourds filled with pebbles, slave bells mounted on hand rings, and such. These various things, from time to time, would be used not only by himself but by others in the group, probably the second kaska player and the third flutist. Among Gorean musicians, incidentally, czehar players have the most prestige; there was only one in this group, I noted, and he was their leader; next follow the flutists and then the players of the kalika; the players of the drums come next; and the farthest fellow down the list is the man who keeps the bag. of miscellaneous instruments, playing them and parceling them out to others as needed. Lastly it might be mentioned, thinking it is of some interest, musicians on Gor are never enslaved; they may, of course, be exiled, tortured, slain and such; it is said, perhaps truly, that he who makes music must, like the tarn and the Vosk gull, be free."
"Nomads of Gor" page 153/4

"The three Musicians bent to their instruments, and, in a moment, there were again the sounds of a paga tavern, the sounds of talk, of barbaric music, of pouring paga, the clink of bowl, the rustle of bells on the ankles of slave girls."
"Assassin of Gor" page 9

"The Musicians began to play, and the girls in Pleasure Silk, hands over their heads, lifted themselves slowly to the melody, their bodies responding to it as though to the touch of a man."
"Assassin of Gor" page 91

"The Musicians had now begun to play. I have always enjoyed the melodies of Gor, though they tend on the whole to a certain wild, barbaric quality."
"Assassin of Gor" page 89

"She danced under ships' lanterns, hanging from the ceiling of the paga tavern."
"Raiders of Gor" page 171

"We were just passing a paga tavern. Within it, dancing in the sand, chained, was a short-bodied, marvelous female slave."
"Hunters of Gor" page 45

"A skirl on a flute and a sudden pounding on twin tabors, small, hand drums, called my attention to the square of sand at the side of which sat the musicians."
"Explorers of Gor" page 133

"The musicians then again began to play, the sensous, melodious, exciting, wild music of Gor."
"Rogue of Gor" Page 190

"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."
"Blood Brothers of Gor" page 39

"Hendow gestured with his head to the musicians, and they made their way, one by one, through the beaded curtain. There were five of them, a czehar player, two kalika players, a flautist and a drummer. In a moment or two, as Mirus solicited further interest among the customers, I heard the sounds of the instruments, the czehar and kalikas being tuned, the flautist trying passages, the drummer's fingers light on the taut skin of his instrument, the kaska, then adjusting it, then trying it again, then tapping lightly, then more vigorously, with swift, brief rhythms, limbering his wrists, fingers and hands. The music of Gor, or much of it, is very melodious and sensuous. Much of it seems made for the display of slaves before free men, but then, I suppose, that is exactly what it is made for.
Then the musicians were silent."
"Dancer of Gor" page 179/180 "Out there, among the tables, I had seen the dancing floor. It was there I would be placed. The space for the musicians was to the left, as I had looked out."
"Dancer of Gor" page 171

"The reference to 'block melodies' had to do with certain melodies which are commonly used in slave markets, in the display of the merchandise. Some were apparently developed for the purpose, and others simply utilized for it. Such melodies tend to be sexually stimulating, and powerfully so, both for the merchandise being vended, who must dance to them, and for the buyers."
"Vagabonds of Gor" page 37

"The 'Hope of Tina,' a melody of Cos whuch would surely be popular with most of the fellows present, was an excellent choice. It was supposedly the expression of the yearning, or hope, of a young girl that she may be so beautiful, and so femine, and marvelous, that she will prove acceptable as a slave."
"Vagabonds of Gor" page 37

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TYPES OF SLAVE DANCES

Beads Dance

"In another Ahn some musicians arrived. Shortly thereafter, as the tavern grew more crowded, they began to play. "A skirl on a flute and a sudden pounding on twin tabors, small, hand drums, called my attention to the square of sand at the side of which sat the musicians. I then gave my attention to the dancer, a sweetly hipped black girl in yellow beads. She was skillful and, I suspected, from the use of the hands and beads, had been trained in Ianda, a merchant island north of Anango. Certain figures are formed with the hands and beads which have symbolic meaning, much of which was lost upon me, as I was not familiar with the conventions involved. Some, however, I had seen before, and had been explained to me. One was that of the free woman, another of the whip, another of the yielding, collared slave. Another was that of the thieving slave girl, and another that of the girl summoned, terrified, before the master. Each of these, with the music and followed by its dance expression, was very well done. Women are beautiful and they make fantastic dancers. One of the figures done was that of a girl, a slave, who encounters one who is afflicted with plague. She, a slave, knows that if she should contract the disease she would, in all probability, be summarily slain. She dances her terror at this. This was followed by the figure of obedience, and that by the figure of joy."
"Explorers of Gor" page 133/4

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Belt Dance

"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. (...)
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. (...)
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 suppose 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... 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. (...)
The belt dance was now moving to its climax and I turned to watch Phyllis Robertson. (...)
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" page 185/8

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Chain Dance

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 serveral 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; 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" page 159/161

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Drum Dance

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

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Leash Dance

"Klio looked about. I could see she was pleased to be so approved of, in her basic elements, as a naked female, but too, she was alarmed, having some inkling as to what might be the entailments of such preferences.
"Have her perform," said one of the men.
I shook the slave leash, now on her, This movement was transmitted through the leather, until it jerked and snapped at he ring, on the leash collar.
"Oh, please , no!" she wept.
"I have shaken the leash, once," I said. "You did not then perform. Fortunate it was for you then that you were a free woman, and not a slave. Even so, I was not pleased. Do you understand?"
"Yes!" she said.
"Now, when I shake it again, you will perform."
She put her head down, trembling.
"Do you understand?" I asked.
"Yes," she whispered.
"You must remember, gentlemen," I said, "she is only a free woman."
I shook the leash and Lady Klio, naked, attempted to perform.
Some of the men laughed.
"Surely you can do better than that," I said.
She sank to her stomach, in the dirt, at the bottom of the trench, weeping.
"Whip her," said a tall fellow, watching her, with his arms folded.
She looked up at him, frightened.
His eyes suddenly glinted. I had not seen what passed between them but I suspect that he had seen in her eyes something swift, some flash of sudden fear and recognition, that she had seen him as her Master.
Then she put down her head again and there, in the dirt, shuddered.
"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.
She regarded me, in wild protest.
"Yes,?" I said.
"Do not make me do these things," she begged. "Do not make me dance and writhe so. I am a free woman!"
"Your freedom will soon be a matter of the past," I told her. "How well you do now could influence the quality of your life in the future."
"Do not fear," I said. "I know you are truly a slave. I learned it in your kiss, when you were shackled at the wall at the Crooked Tarn. I think that perhaps, in the same kiss, you learned it."
The men laughed. She sneaked a glance at the tall fellow, and then, hastily, put down her head. He smiled.
"Lady Elene, of Tyros, your friend, whom you remember front he Crooked Tarn, and the coffle," I said, "is even now in a slave collar." It had been put on her within moments of her sale.
Klio looked back at me.
"In her performance," I said, "the slave, unrestrained, emerged quickly and in moments the woman discovered that it was she. It pleased the men abundantly. It brought a good price. It is now collared."
Klio sobbed.
"Frankly," I said, "I had not expected you to be inferior to her."
She looked at me, angrily.
"But perhaps the women of Tyros," I said, "are superior to those of Cos?"
"I think not," said a man, rather angrily.
There was laughter from the others. I supposed he must be Cosian, natively.
"But then," I said, "it is said, I have heard, that those of Port Kar prize Cosians as slaves."
"Show us what a Cosian can do," said a man.
"Thus," I said, "it seems that it is not, really, that the women of Tyros are superior to the women of Cos, but merely that, in your particular case, you are inferior to the Lady Elene."
She looked at me, again angrily.
"But that is only to be expected, upon occasion, I suppose," I said, "that some woman of Tyros would be superior to some woman of Cos. Too, it is no disgrace to be inferior to the Lady Elene, who is quite attractive and, in time, might even make a dancer."
"I am inferior to Elene," she said, angrily.
The men laughed at her vehemence.
She looked at the tall fellow.
I quickly then, that she would feel the authoritative signal of the leash and collar rings while she was looking at the tall fellow, shook the leash.
"Ah!" said a fellow.
I was quite pleasant then with Klio.
My expectation, I then felt, that she would prove to be the most exciting and desirable of the two, was borne out. That was why I had saved her for last, of course, for use in the trench closest to Ar's Station. To be sure, I might have been somewhat prejudiced, for I remembered Klio's lovely dark hair, and I tend to be partial to brunets. Who, eventually, would prove to be the best slave I did not know. Let such women compete desperately with one another, and with other slaves, each striving to be the best.
One of the men cried out with pleasure.
That had been an excellent leash move, to be sure. Klio displayed herself brilliantly on the leash. Such things seem very natural for a woman. Perhaps they are, to some extent like slave dance, instinctive, the biological template, or genetic dispositions for them, having been selected for , the biological need of a woman to belong, to be approved of and to love.
"Superb!" said a fellow.
I wondered if Klio, sensing these deep, dark, wonderful, frightening things within her, the rightfulness of the destiny of submission to men for her, and such, had not, perhaps in the privacy of her own chambers, before her mirror, put the leash on herself. Perhaps she had then, there, before the mirror, in the privacy of her own quarters, moved similarly. It is not unusual for women to do this sort of thing, alone, often in bonds and chains, expressing plaintively therein their longing for a master.
"Superb! Superb!" cried for another fellow.
Klio, I recalled, had chosen a dangerous way of life, one which she must surely have realized, on one level or another, might lead to the collar.
" 'Klio', " I said to the men, "might be an excellent name for a slave, do you not think so?"
"Yes!" said more than one.
Klio flushed with pleasure. Somehow it seemed she became even more sinuous, more sensuous, then.
I saw that she was paying a bit too much attention to the tall fellow.
"On, your belly," I said to Klio. "There, that fellow," I said, indicating a grizzled sapper to one side, his hooks near him, "address yourself to him, about the feet and legs."
He grinned.
"No!" said the tall fellow.
I had thought this move on my part might bring him into action.
Klio stopped, and turned, from her knees, to regard him.
"I will buy her!" he said.
"She is not cheap," I said. It seemed to me I might as well get what I could for Klio. I fear I must admit occasionally to a streak of opportunistic greediness.
"A silver tarsk!" he cried.
"Done!" I said. I had not really expected anything like that. Klio, redeemed through Ephialtes, had only cost me thirty copper tarsks. Perhaps I should have held out for more, seeing the eagerness of the fellow, but, after all, I was taken by surprise by the splendid offer, and even opportunistic greediness has its limits, particularly when surprised.
"On all fours," I said to Klio.
Immediately she went to all fours.
"A silver tarsk," I said.
It was placed in my palm and I put it in my pouch. I then removed my leash and collar from her neck. I had not even returned the leash and collar to my pouch before I heard a decisive click and a small cry from Klio. She looked up, collared, a slave, at her Master.
"She dances, the leash dance well, does she not?" I asked.
"I will improve her in it," said he, grimly.
Klio quickly bent her head, unbidden to his feet, and kissed them."
"Renegades of Gor" page 170/8

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Need Dance

"I turned away and gave my attention to the slave writhing on the tiles before us.
She was performing a need dance, of a type not uncommon among Gorean female slaves. Such a dance usually proceeds in clearly defined phrases, 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 beome 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 invited 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 satisy her. She must strive to be pleasing. If she is not good enough she may be chained, unfilfilled, 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 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. The 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. (...)
The music ended with a swirl of sound and the girl, with a jangle of bells, lay before the table of Policrates, whimpering, her hand extended. She lifted her head. I read the unmistakable need in her eyes. She was indeed a slave female."
"Rogue of Gor" page 185/8

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Net Dance

"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.
I sat back from the dancing floor, my back to the wall, the musicians to my left.
The dance was coming to an end and the slave who had been "netted," now well in custody, bound and leashed, was 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. There was more applause."
"Vagabonds of Gor" page 400/1

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Placatory Dance

"There are many forms of placatory dances which are performed by female slaves. Some of these tend to have rather fixed forms, sanctioned by customs 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. Thought 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 ahd 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.
"Hot Sand will do, Master," I said, "and chains in which my limbs are enclosed."
"Yes," he said.
I saw I did not need to fear him, save in the ways any slave must fear a Master.
I danced then to those whose eyes were hardest. Some of them were not even men I had trapped, but only men who knew what I had done. Some may have been as innocent as those I had lured; others might have been murders and brigands, suitably enchained for the expiration of sentences, their custody having been legally transferred to Ionicus, my Master, at the payment of a prisoners fee, by the writ of a praetor or, in more desperate cases, by the order of a quaestor. I danced abjectly. I danced piteously. I danced beggingly. I danced as well as I could. I could not do more. They would either be pleased or not. My fate was in their hands.
"She is pretty," said one of them.
"Yes," said another.
Hope sprang again high within me. I sought them to move another, with my helplessness, and the pleas of my body.
"Are you a good slave lay?" asked a man.
"It is my hope that I am pleasing, Master," I said. "Surely I shall endeavor to be so."
He grinned.
"She is an excellent dancer," commented a man, another whom I had lured in Argentum.
"Yes," said another fellow, another of those who owned his chaining to me.
I began to be conscious then, as I sometimes was, of the incredible power of the female slave, of how helpless men could be before her, and of what she could do to them.
"Ah," said one of the men, softly, watching.
I repeated the movement.
"Yes," said another man. "Yes!" said another.
How paradoxical I thought, that she who is branded, and collared, and owned, is nothing, should have such power!
"Dance, slut, dance!" said a man.
And then again I danced, helplessly, piteously, suing for their favor, striving desperately to be found pleasing. In the end the power belongs to the master, totally, and not to the slave. She is his.
"Excellent," said a man. "Excellent."
I danced.
I danced in such a way that a free woman might only dream of, awakening, sweating, in the night, clutching her covers, in terror, then feeling her throat with trepidation, with the tips of frightened fingers, to ascertain that no collar has been locked on it in the night. How could she, a free woman, have such a dream? What could it mean? And what would the men do to her when they came to take her in their arms? She awakened, in terror. Perhaps she hurries to strike a light in her room. The familiar surroundings reassure her. She has had such dreams before. What could they mean? Nothing, of course. Nothing! Such dreams must be meaningless! They must be! but what if they were not? She shudders. Perhaps she then, in her long silken gown, curls up, frightened, at the foot of her bed. What, too, could that mean? She does not know. Surely that, too, means nothing. But what if it did? She lies there, troubled, but somehow comforted, somehow secure, in that position. It seems to her, somehow, that that is where she belongs.
"Superb," said a man.
I saw now that they, or most of them, were pleased. I sensed now that I might be spared, at least if I pleased them, too, well enough in the sand. I had lured many of them, but now I danced before them, to please them, begging for my life, danced before them helplessly, at their mercy, submitted and dependent on their favor, for my very life, as much as thought I might be their own slave. I saw to my joy, coming gradually to understand it that they, or surely most of them, would accept this, my beauty, my submission and service, abject and total, in lieu of my blood. It would be vengeance enough for them. How mighty they were, and kind! To be sure, I would have to continue to show them perfections of slave service and total deference. How grateful I was to he whom I had most feared, he who was lost upon the chain, he who had given me this eagerly embraced opportunity to save my slave's hide! But it was he, of all of them, who had refused to watch me dance. He stood with his back turned to me, his back straight, his arms folded, looking away. Many times I had danced to him, moving behind him in the and, but he did not turn. he did not deign to glance upon me. Then, near the end of my dance, as it approached its climax, I was on my kneels in the sand, writhing, bending forward until my hair was in the sand, bending back then, expressing the bow of my body, my thighs, my belly, my breasts and throat to them, my hands inviting attention to them, my hair back in the stand, and then I straightened, and then was on my back, and bellly, twisting and moving, lifting my hands to them, begging for favor, piteously suing for mercy. Such things I had been taught as long ago as the house of my first training, but I think, truly, even had I not had such training, I would, in the circumstances, have done much the same. Perhaps as instinctual in a woman. I had, when owned by Gordon, the musician, once seen a former free woman, new to her collar, in an alley in Samnium, performing so for a Master, he with the whip in hand, encouraged her to adequacy. She did well, She, shuddering, half in shock, learned that she would be spared, at least for the time. He then began to instruct her in how to give pleasure to a man. She attended fearfully, and well, to her lessons.
At the end of my dance, I was on my knees again, behind him. I lifted my hands to him. "Master, please!" I begged. "Look upon me!" But he did not turn.
With a cry of joy the men surged about me. I was lifted by my upper arms and flung back in the sand. My legs were lifted up, my knees bent. My wrist chain was pulled forward and thrust over and behind my feet. It was then jerked up, behind me. I could not move my hands from my sides. I was helpless. My ankles, each in the grip of one man, were pulled apart, until my ankle chain, its links straightened, permitted no further extension. My opened tunic was thrust back on both sides. I, half submerged in the sand, put my head back, looking up, and back. I could see the figures, and the palanquin, seemingly small, seemingly far above me, seemingly far away from me on the ridge. I thought my Master, Ionicus, of Cos, might be looking for me, through the lorgnon. "Oh!" I cried, suddenly as t he first of them put me to his pleasure."
"Dancer of Gor" pages 333/5

"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, thought perhaps with some impatience, and misgivings, this chance to make amends for some perhaps unintentional, minuscule transgression. Perhaps his paga had not been heated to the right temperature. Women look well in collars.
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, her head down, held by the hair, at his left hip. This is a common leading position for female slaves being conducted short distances. As the master holds her hair in the left hand, it leaves his right hand, commonly the sword hand, free.
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 nay 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 44/6

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Pole Dance

Then, 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 men about slapped their thighs and grunted their approval. The music stopped. 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 39/43

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Sa-eela Dance

"The Sa-eela is one of the most moving, deeply rhythmic and erotic of the slaves dances of Gor. It belongs, generally to the 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. (...)
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 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 for better or worse, in Gorean slave dance. Not only can the dances differ from city to city, but even from tavern to tavern, and 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, 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. (...)
Peggy, then was back from the table, on the tiles, on her back, and sides, and knees, and then prone, and again supine, and then writhing, as though in frustration and loneliness. Stands before the Master, hands lifted, their backs together above her head.
I observed the dancer, closely, the striking of her small, clinched 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 scarrering 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 remainded 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 poignance. 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 seem to contain her. She then stood and faced us, and put her head in her hands, bent over and 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 couse, 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 clearly, 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 disdane. Then it seems as she, startled, looks about, 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 plams 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 postion of a 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 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 hand 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. (...)
Peggy's body gleamed with sweat. She had small feet, and lovely high arches. Her body was superb. (...)
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.
The music now, pounding and throbbing, mounted headily tword 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 couse, 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 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 individualism.
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. 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 toward him."
"Guardman of Gor" page 260/6

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Tether Dance

"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 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. (...)
"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.
"Please do not whip me," she begged.
I then, by the upper arms, dragged her to the side of the slave stake. I put her on her knees there. She looked up at me. "You danced well as a slave," I said."
"Explorers of Gor" page 360/3

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Tile Dance

"I hear from the chain master," said Samos, "that you have learned the tile dance creditably."
The tiny cups and glasses shook on the tray. "I am pleased," she said, "if Krobus should think so."
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" page 13

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Six Thongs Dance

"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. (...)
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 so.
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.
There were cries of pleasure from the tables, and much striking of the right fist on the left shoulder.
She had been truly superb.
Then the men carried her before my talbe and held her bound before me.
"A slave," said one.
"Yes," cried the girl, "slave!"
The music finished with a clash.
The applause and cires were wild and loud.
I was much pleased."
"Raiders of Gor" page 228/230

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Veil Dance

"At a languid gesture from Ibn Saran, Alyena lifted herself from the scarlet tiles, gracefully turning from her side to her knees, and then, head back, hair to the floor, slowly, inch by melodic protesting inch, arms before her body, lifted herself to a kneeling position, erect, the last bit of her to rise being her head, with a swirl of her blond, loose hair. Then, looking to Ibn Saran, suddenly she bent forward, as though impulsively, as though she could not help herself, and, hands on the tiles, head down, kissed the tiles at his feet, before his slippers. She looked up at him. I gathered she wanted to be bought by him. He was her "rich man." He lifted his finger for her to rise. Her right leg thrust forth, brazenly, and then, from her kneeling position, slowly, hands above her head, moving, high, she rose swaying to her feet.
"May I strip your slave?" inquired Ibn Saran.
"Of course," I said.
He nodded to the girl. To the music she unhooked her slave halter of yellow silk and, as though contemptuously, discarded it. I saw she was excited to see his interest in her. Only too obviously was she interested in him making a purchase of her. The churning of milk and the pounding of grain were not for lovely Alyena. That was for ugly girls and free women. She was too desirable, too beautiful, to be set to such labors. (...)
Alyena, now, slowly, disengaged the dancing silk from her hips, yet held it, moving it on and about her body, by her hands, taunting the reclining, languid, heavy-lidded Ibn Saran, to whom she knew, at his slightest gesture, she must bare herself.
He regarded her veil work; she was skillful; he was a connoisseur of slave girls. (...)
At a signal from Ibn Saran, Alyena drew the veil about her body, and around it, and, with one small hand, threw it aside. She stood boldly before him, arms lifted, head to the side, right leg flexed. The veil, floating, wafted away, a dozen feet from her, and gently, ever so gently, settled to the tiles. Then, to the new melodic line, she danced. (...)
Alyena now to a swirl of music spun before us, swept helpless with it, bangles clashing, to its climax.
Then she stopped, marvelously, motionlessly, as the music was silent, her head back, her arms high, her body covered with sweat, and then, to the last swirl of the barbaric melody, fell to the floor at the feet of Ibn Saran. I noted the light hair on her forearms. She gasped for breath."
"Tribesmen of Gor" page 104

"There were bells, three rows of them, small and golden, thronged tightly about the girl's left ankle. The entire floor of the chamber, shining, richly mosaiced, broad, reflecting the torchlight, was a map. I watched the girl. Her knees were slightly bent. Her weight was on her heels, freeing her hips. Her rib cage was lifted, but her shoulders, relaxed, were down. Her abdominal muscles, too, were relaxed, loose. Her chin was lifted, haughtily. She did not deign to look at us. Dark hair flowed behind her. The left ankle of the girl, under the bells, the brown thong, the golden metal, was tanned.
The girl wore Gorean dancing silk. It hung low upon her bared hips, and fell to her ankles. It was scarlet, diaphanous. A front corner of the silk was taken behind her and thrust, loose and draped, into the rolled silk knotted about her hips; a back corner of the silk was drawn before her and thrust loosely, draped, into the rolled silk at her right hip. Low on her hips she wore a belt of small denomination, threaded, overlapping golden coins. A veil concealed her muchly from us, it thrust into the strap of the coined halter at her left shoulder, and into the coined belt at her right hip. On her arms she wore numerous armlets and bracelets. On the thumb and first finger of both her left and right hand were golden finger cymbals. On her throat was a collar. (...)
He clapped his hands. Immediately the girl stood beautifully, alert, before us, her arms high, wrists outward. The musicians, to one side, stirred, readying themselves. Their leader was a czehar player.
He looked at the girl. He clapped his hands, sharply. There was a clear note of the finger cymbals, sharp, delicate, bright, and the slave girl danced before us. I regarded the coins threaded, overlapping, on her belt and halter. They took the firelight beautifully. They glinted, but were of small worth. One dresses such a woman in cheap coins; she is slave. Her hand moved to the veil at her right hip. Her head was turned away, as though unwilling and reluctant, yet knowing she must obey. (...)
The dancer was now moving slowly to the music. I turned to watch the dancer. She danced well. At the moment she writhed upon the "slave pole," it fixing her in place. There is no actual pole, of course, but sometimes it is difficult to believe there is not. The girl imagines that a pole, slender, supple, swaying, transfixes her body, holding her helplessly. About this imaginary pole, it constituting a hypothetical center of gravity, she moves, undulating, swaying, sometimes yielding to it in ecstasy, sometimes fighting it, it always holding her in perfect place, its captive. The control achieved by the use of the "slave pole" is remarkable. An incredible, voluptuous tension is almost immediately generated, visible in the dancer's body, and kinetically felt by those who watch. I heard men at the table cry out with pleasure. The dancer's hands were at her thighs. She regarded them, angrily, and still she moved. Her shoulder lifted and fell; her hands touched her breasts and shoulder; her head was back, and then again she glared at the men, angrily. Her arms were high, very high. Her hips moved, swaying. Then, the music suddenly silent, she was absolutely still. Her left hand was at her thigh; her right high above her head; her eyes were on her hip; frozen into a hip sway; then there was again a bright, clear flash of finger cymbals, and the music began again, and again she moved, helpless on the pole. Men threw coins at her feet. (...)
The dancer moaned, crying out, as though in agony. Still she remained impaled upon the slave pole, its prisoner. (...) The hips of the dancer now moved, seemingly in isolation from the rest of her body, though her wrists and hands, ever so slightly, moved to the music. (...) Samos, with a snap of his fingers, freed the dancer from the slave pole. She moved, turning, toward us. Before us, loosening her veil at the right hip, she danced. Then she took it from her left shoulder, where it had been tucked beneath the strap of her halter. With the veil loose, covering her, holding it in her hands, she danced before us. then she regarded us, dark-eyed, over the veil; it turned about her body, then, (...) she wafted the silk about her, immeshing her in its gossamer softness. I saw the parted lips, the eyes wide with horror, of the kneeling, harnessed girl, through the light, yellow veil; then the dancer had drawn it away from her, and, turning, was again in the center of the floor.(...) The dancer whirled near us, then enveloped me in her veil. Within the secrecy of the veil, binding us together, she moved her body slowly before me, lips parted, moaning... I slowly removed her veil from her, then threw it aside. Then with my right hand, the Tuchuk quiva in it, while still holding her with my left, as she continued to move to the music, I, behind her back, cut the halter she wore from her. I then thrust her from me, before the tables, that she might better please the guests of Samos, first slaver of Port Kar. She looked at me reproachfully, but, seeing my eyes, turned frightened to the men, hands over her head, to please them. Never in all this, of course, had she lost the music in her body. The men cried out, pleased with her beauty.(...) All eyes were on the dark-haired dancer, the skirt of diaphanous scarlet dancing silk low upon her hips. Her hands moved as though she might be, starved with desire, picking flowers from a wall in a garden. One saw almost the vines from which she plucked them, and how she held them to her lips, and, at times, seemed to press herself against the wall which confined her. Then she turned and, as though alone, danced her need before the men. (...)
The dancer turned from the tables and, hands high over her head, approached me. She swayed to the music before me. "You commanded me to dance my beauty for the guests of Samos," said she, "Master. You, too, are such a guest." I looked upon her, narrow lidded, as she strove to please me. Then she moaned and turned away, and, as the music swirled to its maddened, frenzied climax, she spun, whirling, in a jangle of bells and clashing barbaric ornaments before the guests of Samos. then, as the music suddenly stopped, she fell to the floor, helpless, vulnerable, a female slave. Her body, under the torchlight, shone with a sheen of sweat. She gasped for breath; her body was beautiful, her breasts lifting and falling, as she drank deeply of the air. Her lips were parted. Now that her dance was finished she could scarcely move.We had not been gentle with her. She looked up at me, and lifted her hand. It was at my feet she lay."
"Tribesmen of Gor" page 7/13

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A Virgin Dance

"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 felt metal anklets being thrust on my ankles by Tupita and Sita, They put several on each ankle. They then, similarly, placed narrow bracelets on both my wrists, several on each wrist. A long belt of cord, to which were attached numerous metal disks, suspended and shimmering, was then looped twice about me, the first loop secured high, and tight, at my waist, and the second loop, a larger loop, a framing loop, was secured in such a way, in the back, that it would hang quite low on my belly, well below my navel. The purpose of this belt was to call attention to, and enhance, by sound and sight, the movements of the hips and abdomen. With the slave beads I already wore I felt inutterably displayed, and barbaric. I could not move now without the sounds of the beads, the anklets and bracelets, the shimmering belt with its two loops.
I stood before them with my hands lifted over my head, the backs of my hands facing one another, my knees flexed. It is a common beginning position in slave dance.
The musicians readied themselves.
I looked out on the men. These were not men of Earth, defeated and tamed by propaganda and lies. These were Gorean men, men like lions. I stood before them, weak and helpless, a woman from Earth, now a collared slave who must dance for their pleasure.
The czehar player, sitting cross-legged, now had his instrument across his lap. He was the leader of the musicians. He had his horn pick in hand.
I stood barefoot, naked, save for collar and adornments, on the dancing floor of a low-ceilinged Gorean tavern. I must prepare to please masters.
I looked out on the men. One of them would be my first use master. In a special sense my 'virgin dance' must be dedicated to him. But, in general, I must dance, too, before the guests of Hendow's tavern, and, too, before all who were present.
In the dance I had power. In the dance I was beautiful. I saw delight in the eyes of men. I heard gasps of admiration. To be sure I was of a body type, that of the natural woman, short-legged and well-curved, that tends to be attractive to Gorean men, and I think my face, which some had told me was delicate and sensitive, and lovely and intelligent, which so easily betrayed my emotions, may have been pleasing to them, but I think there was more to it than these things. Had it been merely a matter of face and figure I do not think the effect would have been the same. Many things were doubtless involved. One, of course, was that it was a slave who danced. The dancing of a slave is a thousand times more sensuous than that of a free woman because of the incredible meanings involved, the additional richness which this furnishes, the explosive significance of this comprehension, that she who dances is owned, and, theoretically, could be owned by you. Too, she is naked, or scantily clad, and is bedecked in a barbaric manner. This speaks of reality and savagery, of ferocity, and beauty and barbarism, and of the fundamental meaningfulness of the male/female relationship, that of power and ferocity to beauty, of dominator to dominated, of master to slave. The dancing of the female before the male, that she be found pleasing and he be pleased, is one of the most profound lessons in all of human biology. Others are when she kneels before him, when she kisses his feet, when she performs obeisance, when she know herself subject, truly, to his whip. Another is when she is seized in his arms, imperiously, and crushed to him. Too, I think in this dance I was also as successful as I was because of the sort of woman I was, one who possessed deep female needs, and profound passions. I was ready, even at that time, as I now realize, to have the relentless torches of men set to the tinder in my belly, that slave fires might be lit there, thence by service, submission and love, my condition as slave, and the commands and touches of men, to be fanned, whether I willed it or not, to my dismay and joy, into open conflagrations. But I think, too, more simply, that there are skills involved, and that I was an excellent dancer, even at that time.
I danced, as the slave I was.
'Here, slut, here!' called more than one man.
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. Perhaps he would be my use master. I did not know.
Several began to keep the time with their hands, clapping them together.
'She is not a virgin,' said a man.
'No,' said another.
I came about then to the back of the dancing floor. Tupita, and the others were there. 'You are good,' said Tupita to me, grudgingly.
'I am superb,' I said to her, angrily. Then I added, hastily, 'Mistress!'
I looked to the back of the tavern, where, near the beaded curtain, stood Hendow, my Master, his arms folded. I swayed before him. I wanted to convince him that he had not made a mistake in purchasing me. I saw in his eyes that I had much to learn. I moved a little to my left, dancing before Mirus, who crouched there at the back of the floor, the sack of tarsk bits heavy at his belt.
'Do not change anything,' he said to me, 'but I would have thought you would dance rather more like a virgin.'
I whirled away from him, to my right. Yes, I thought to myself, what are you doing, Doreen? What has gotten into you? Why are you doing this? Why is your belly so alive? Why are you so excited? Why is your body so hot? Why is it moving like this? You are dancing more like a purchasable slut, a common girl from a market, a girl who has been well taught by men and the whip the meaning of her collar, one who has already learned to whimper behind the bars of her kennel and scratch at its walls, than a virgin, fearing, but curious about, her first taking.
'Look,' said a man.
'Superb,' said another.
I did not think Mirus would mind if I changed my performance in this fashion, particularly, as I would, later, return to the taunting, sensate splendors of the aroused woman, and then, at the end, to the helpless pleading of the begging female, she who knows herself, ultimately, at the mercy of masters.
Actresses need only be actresses. They need not be dancers. But she who is a dancer must be more than a dancer. She must be an actress, as well.
'Ah, yes,' said a man.
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 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. I heard roars of triumph, shouts of pleasure. I was frightened. The men were on their feet. There was a thunder of applause, the striking of the shoulders in the Gorean fashion, and, too, the crashing of goblets on the tables."
"Dancer of Gor" pages 190/6

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Whip Dance

"A new dancer came forth upon the floor and began, a tall brute near her with the leather, to perform a whip dance. (...)
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. In an elegant, civilized context, one of beauty and music, it makes clear and bespeaks the raw and essential primitives of the ancient, genetic, biological sexual realtionship of men and women. The whip dance continued before us.(...) The whip dance was now approaching its climax. (...)
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" page 191/6

"I watched the dancing girl of Port Kar writhing on the square if sand between the tables, under the whips of masters, in a Paga tavern in Port Kar. It is called the Whip Dance, the dance the girl on 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 pendent upon them; and a locked collar, matching. She danced under ships' lanterns, hanging from the ceiling of he paga tavern, it located near the wharves bounding the great arsenal. I heard the snapping of the whips, her cries."
"Raiders of Gor" page 100

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OTHER DANCES

Dance for the Captor

"Then, to the festive music of flutes and drums, the girl kneels. The young man approaches her, bearing a slave collar, its engraving proclaiming his name and city. The music grows more intense, mounting to an overpowering barbaric crescendo, which stops suddenly, abruptly. The room is silent, absolutely silent, except for the decisive click of the collar lock.
It is a sound the girl will never forget.
As soon as the lock closes, there is a great shout, congratulating, saluting the young man. He returns to his place among the tables that line the low-ceilinged chamber, hung with glowing brass lamps. He sits in the midst of his family, his closest well-wishers, his sword comrades, cross-legged on the floor in the Gorean fashion behind the long, low wooden table, laden with food, which stands at the head of the room.
Now all eyes are on the girl.
The restraining slave bracelets are removed. She rises. Her feet are bare on the thick, ornately wrought rug that carpets the chamber. There is a slight sound from the bells strapped to her ankles. She is angry, defiant. Though she is clad only in the almost transparent scarlet dancing silks of Gor, her back straight, her head high. She is determined not to be tamed, not to submit, and her proud carriage bespeaks this fact. The spectators seem amused. She glares at them. Angrily she looks from face to face. There is no one she knows, or could know, because she has been taken from a hostile city, she is a woman of the enemy. Fists clenched, she stands in the center of the room, alone, all eyes upon her, beautiful in the light of the hanging lamps.
She faces the young man, wearing his collar.
"You will never tame me!" she cries
Her outburst provokes laughter, skeptical observations, some good -natured hooting.
"I will tame you at my pleasure," replies the young man and signals to the musicians.
The music begins again. Perhaps the girl hesitates. There is a slave whip on the wall. Then, to the barbaric intoxicating music of the flute and drums, she dances for her captor, the bells on her ankles marking each of her movements, the movements of a girl stolen from her home, who must now live to please the bold stranger whose binding fiber she had felt, whose collar she wore.
At the end of her dance, she is given a cup of wine, but she may not drink. She approaches the young man and kneels before him, her knees in the dictated position of the Pleasure slaves, and, head down she proffers the wine to him. He drinks. There is another general shout of commendation and well wishing, and the feasts begin, for none before the young man may touch food on such occasions. From that moment on, the young man's sisters never again serve him, for that is the girl's task. She is his slave."
"Outlaw of Gor" page 52/3

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The Love Dance of the Newly Collared Slave Girl

"I turned to the musicians. 'Do you know,' I asked, 'the Love Dance of the Newly Collared Slave Girl?'
'Port Kar's?' asked the leader of the musicians.
'Yes,' I said.
Of course,' said he.
I put ankle rings on Midice, and then slave bracelets. And tore from her the bit of silk she wore. She looked at me in terror.
I lifted her to her feet, and she stood before me.
'Play,' I told the musicians.
The Love Dance of the Newly Collared Slave Girl has many variations, in the different cities of Gor, but the common theme is that the girl dances the joy that she will soon lie in the arms of a strong master.
'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 bracleted; she wore the linked ankle rings, the three-linked slave bracelets of a Gorean master.
She trembled. 'Find me pleasing,' she begged.
The music grew more wild.
The music grew even more wild.
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" page 115/7

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First Dance of an Earth Girl

"'You will begin at the beginning,' he said. 'You will perform the entire dance, from beginning to end, for us.'
'Please, no,' I said. I could not stand the thought, the terrifying thought, of putting myself, in the beauty of dance, before men such as these. I could not even dream of letting such men see me dance. It was utterly unthinkable. I had not even dared to show myself thusly to common men, to banal, safe, inoffensive, trivial, conquered men, men of the sort with whom I associated, men of the sort I knew. Who knew what they might think, how they might be tempted to act, what they might be prompted to do?
The man pushed the button of the tape recorder, and I danced.
The tape played for eleven minutesand seventeen seconds, its playing time. The piece was excellent, in its melodic lines, its moods, and shifts. It was one of my favorites. But never before had I danced to it in terror. Never before had I danced to it before men. Then it finished in a swirl and I spun and sank to my knees before them, my head down, my hands on my thighs, in a common ending position for such a dance. Never before, however, I think, had I been so suddenly and deeply struck with the meaning of this ending position, it following the beauty of the dance, its presentation of the dancer in a posture of submission."
"Dancer of Gor" page 32/3

"I watched Aemilianus' slave emerging from the kitchen. I listened to the unobtrusive music of the musicians, who were sitting on a rug a few feet in front of, and to the left of, the table. I took another sip of the black wine.
The voluptuous blond slave began to lower certain of the lamps.
'What are you doing?' I asked her.
'Forgive me, Master,' she said. She then hurried again to the kitchen. As she had done this work the light in the room was romantically softened, but an area, soft as well, of greater illumination had been left before the table. When she had left the room, the musicians, too, had stopped playing. This seemed interesting.
'What is going on?' asked Miles of Vonda.
'I do not know,' I said.
'Is it an entertainment?' asked Glyco.
'Perhaps," I said.
The blond slave of Aemilianus then re-entered. She placed a large, folded square of sparkling white linen at the bottom of the table. She then lit a wide, large, low candle and placed this candle, on a plate, on the soft, wide square of folded linen. She then withdrew to the side.
I looked at the white linen, and the candle, in the half darkness.
I was startled.
What memories this stirred in me!
The musicians then began to play, softly. The girl emerged from the kitchen.
There were sounds of pleasure, and surprise, from those about the table.
'She is beautiful,' said Tasdron.
'What manner of garments are those?' asked Glyco.
The dark-haired girl, exquisite and lovely, stood in the light, on the tiles, back from the foot of the table, that we might well see her. Her hair was drawn severely back on her head. She wore what seemed to be a svelte, satin, off-the-shoulder, white sheath gown. Twisted about her feet, over and under, were golden straps.
'I do not understand this,' said Miles of Vonda. 'Is this meanigful?'
I was almost overwhelmed. 'It is very meaningful to me,' I said. 'Permit me, my friends, to explain. First, Glyco, in answer to your question, the garments she wears are much like, and are meant to suggest, the garments which a free woman may wear on Earth.'
The girl then turned gracefully before us, displaying the garments. I saw that her hair, severely drawn back on her head, was fastened behind the back of her head in a bun. I had known it would be. I had not forgotten.
'They are slave garments,' said Glyco.
'True,' I said, 'but to understand what she is doing, you must understand that such garments, on Earth, are understood to be exquisite and lovely free-woman's garments.'
'Observe the hair,' I said.
'It seems severe, tight, rigid, constricted, constrained,' said Glyco.
'That is part of the costume, so to speak,' I said, 'of many male-imitating women. The straight lines and severity are supposed to suggest, I gather, efficiency and masculinity.'
'Interesting,' said Glyco. 'It is incongruous, of course, with the garment, which seems rather femine.'
'Such incongruities,' I said, 'are not uncharacteristic of many Earth women. They can indicate ambiguities in selfimages and confusions, in particular, as to their sexuality.'
'The cloth on the table and the candle,' said Miles of Vonda, 'are supposed to suggest to you the place of this meeting of which you spoke.'
'Yes,' I said. 'It was a place where food was served, and where one might engage in pleasant conversation.'
'A tavern?' asked Tasdron.
"Not exactly,' I said. There is no precise Gorean expression for a restaurant.
The girl, then, to the music, moved gracefully, turning, her bands held out, about the table, displaying herself and her garments for us. She then returned to her place on the tiles, at the foot of the table.
I regarded her. How beautiful she was! She looked at me. Then, gracefully and decisively, to the music, she unbound her hair.
There was applause for this at the table, the gentle striking of left shoulders, for she had done it well, and the significance of a woman's unbinding her hair before a man is well understood on Gor.
She then, reaching to the left side, beneath her arm, of what seemed to be a white sheath gown, undid a fastening, and then others, at the side of her body, her waist, her thigh, and knee, and then, gracefully, the Gorean music unobtrusive but melodious in the background, removed the garment. I saw then that a rectangle of white cloth, cleverly tucked and sewn, had been used to simulate the off-the-shoulder, white sheath gown on Earth. Such an actual gown, of course, had not been available to her on Gor.
There was gentle, appreciative applause.
She now stood before us in what seemed to be a brief, silken, off-the-sboulder slip.
The girl then sat on the tiles before us, but back a bit, where we, sitting cross-legged at the low table, could well see her. She extended her right leg, gracefully. It was flexed and, as her foot was placed fully upon the floor, her toes were pointed. These two things, respectively, curved her calf deliciously and extended the line of her beauty. Her left leg was back, its ankle beneath her right thigh. She looked at me, and then, bending forward, removed the golden straps wound about and under her right foot. In the restaurant she bad worn golden pumps, with wisps of golden straps. She looked at me. Well did she, and the others, know the significance of removing footwear before a free man. She cast aside the straps she had taken from her right foot. Then, putting her hands back, swiftly and smoothly, beautifully, to the music, without rising, she changed her position on the tiles. Her left thigh now faced me. Her left leg was now gracefully extended, flexed and toes pointed. Her left thigh, and calf, and ankle and foot were marvelous. Her right fcot, as her left previously had been, was back, the right ankle now beneath her right thigh. She then removed the golden straps from her left foot, and cast them aside. She looked at me. She had bared her feet before a free man. The golden straps she had used to simulate the footwear which she had worn on Earth were golden binding straps. They were the nearest thing she could find, within her limited resources, I gathered, to what she had worn in the restaurant. I did not object. They resembled somewhat, and well suggested, that footwear. Such straps, incidentally, are commonly used to bind the hands and feet of women. Sometimes, if it amused me, I could tie her in them.
There was gentle applause for the girl, and murinurs of appreciation. The footwear hadbeen well removed.
She then rose to her feet and stood again before us, but now barefoot upon the tiles.
She then reached again to her left side, and undid a fastening there, below her left arm,and then another below it, and then one at her hip. She then unwrapped the brief sliplike garment from her body, and dropped it to one side.
The brassiere had been simulated cleverly with soft white silk. Her beauty, soft, andalmost as though protesting its confinement, strained against this silk. Too, between her breasts, this silk had been twisted and knotted, this making even more evident the sweet contours of her beauty, and the sturdy, silken restraint placed upon it. The panties, too, were simulated with white silk, which, in a narrow rectangle, had been wrapped twice about her hips and tucked in at her waist. There was no nether closure to this silk, of course. The Gorean slave girl is not permitted to shield her intimacies without the explicit permission of her master.
Besides these two garments, intended, respectively, to suggest the brassiere and panties of an Earth girl, she still wore, of course, the light, narrow white scarf, this twisted and wound twice about her throat, the ends thrown over her left shoulder.
The girl then, to the music, put back her head and put her hands behind her back, and, reaching high behind her back, this lifting her breasts beautifully, strained for a moment, and then, one by one, twisting slightly, undid the hooks on the confining, tight silk.
Our eyes met.
The silk was then dropped to one side.
'Superb,' said Glyco.
She then reached to the white scarf on her throat and, beautifully, to the music, undid it one turn. She then, to the music, drew it beautifully, slowly, from her throat, and, gracefully, dropped it to one side. She wore, of course, now revealed, a close-fitting, gleaming slave collar.
She lifted her head, and, with her fingers, delicately indicated and displayed the collar.
She then stood before us as a barefoot, half-naked, collared slave.
Gorean applause, and murmurs of appreciation, greeted this aspect of her performance.
Our eyes met again.
She then reached with her right hand to her waist and undid the tuck in the silk which was wrapped about her hips. Slowly and beautifully then, to the music, with both hands, she unwound the silk, and then dropped it to the tiles.
'Superb!' said Glyco.
She then crawled to me, on her hands and knees, her head humbly down. Then, when she reached me, she lowered herself to her belly and, extending her right hand, touched me on the knee. She lifted her head. 'You are my master,' she said, 'and I am your slave, and I love you!'"
"Guardsman of Gor" page 247/53

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First Dance of a New Slave

"Samos then signaled to the musicians, who were seated to one side, that they should prepare to play.
Samos signaled again to the musicians, and they began to play a sensual, slow, adagio melody.
Samos glanced at the dancer.
I, too glanced at her. She was not trained. She did not know slave dance. Her movements were those of a virgin, a white-silk girl. She had not yet been taught sleave helplessness. No man yet in his arms had taught her the exquisite, transforming degradations of the utilized slave, the wrenching surrender spasms, enforced upon her by his will, of the conquered bondswoman, experiences which, once she has had them, she is never willing to give up, experiences which she comes to need, experiences for which she will do anything, experiences which, whether she wishes it or not, put her at and keep her at, the mercy of men.
'She, is clumsy,' said Samos. He was irritated. I saw he did not wish, really, to have her killed.
A man laughed at her, as she tried to dance before him. 'Her throat will be cut within the Ahn,' laughed another man. Another man turned away from her, when she approached him, to have his goblet of paga filled by a luscious, half-naked, collared slave.
'Clumsy, clumsy,' said Samos. 'I thought she might have the makings, somehow, of a pleasure slave.'
'She is trying,' I said.
'She does not have what it takes,' said Samos.
'Her body is richly curved,' I said. 'That suggests an abundance of female hormones, and that, in turn, suggests the potentialities, the capacities for love, the sensibilities, the dispositions of the pleasure slave.'
'She is not acceptable,' said Samos. 'She is inadequate.'
'She is trying desperately to please,' I said.
'But she is not succeeding,' he said.
'She has a lovely body,' I said. 'Perhaps someone could buy her for a pittance, for a pot girl.'
'She is not adequate,' said Samos. 'I will have to have her destroyed.'
'Dance, you stupid slave,' hissed one. 'Do you not know you are a slave? Do you not know you are owned?'
A wild look, one of sudden, fearful insight, came over the face of the dancer. She had not thought, specifically, objectively, it seemed, about this aspect of matters. But, of course, she was owned. She was now property. She could now be bought and sold, like a tarsk, at the pleasure of masters.
'Dance, fool!' cried one of the slave girls to the former Lady Rowena of Lydius.
'See the free woman!' laughed one of the slaves. 'It is the sleen for her,' said another.
'Please men!' cried another. 'What do you think you are for?'
She who had been the Lady Rowena fell sobbing to her knees, helpless on the tiles, covering her face with her hands. The music stopped.
'With your permission,' I said to Samos. I rose to my feet and went to the girl, now prone, red-eyed, on the tiles. I crouched down beside her.
I turned her over, handling her with authority, as a slave is handled. She looked up at me.
Never before, doubtless, had she been handled like this. 'Her face is beautiful,' I said, 'her body is curvaceous, her limbs are fair. It seems she should bring a good price.' She gasped, appraised as a female.
'Men desire women,' I told her.
'Yes, Master,' she said.
'And you belong to that sex,' I said, 'which is maddeningly, exquisitely desirable.'
'Yes, Master,' she said.
'And you are,' I said, 'I think, objectively, a beautiful member of that sex.'
'Thank you, Master,' she whispered.
'It therefore seems not inconceivable that men might find you desirable.'
'Yes, Master,' she whispered.
'Does that please you?' I asked.
'It terrifies me,' she said.
'Do you have normal feelings toward men?' I asked.
'I think so, Master,' she said. 'Now that you are a slave,' I said, 'it is not only permissible for you to yield to these feelings, but you must do so.'
'Master!' she whispered.
'Yes,' I said, 'for you are now a slave.'
'Yes, Master,' she whispered, shuddering.
'That makes quite a difference, doesn't it?' I asked.
'Yes, Master,' she said.
'She does not have slave reflexes,' said a man.
'We are now going to put these things together,' I said. 'First, you are an exquisitely desirable woman. You are the sort of woman who could drive a man mad with passion. You are the sort of woman to possess whom men might kill. Furthermore, your beauty and desirability is increased a thousand fold because you are a property girl, a slave.'
'Yes, Master,' she whispered. 'Oh, Master!'
'Men are now of even greater interest to you, are they not?' I asked.
'Yes, Master!' she wept.
'Now,' I said, 'second, let us consider things from the point of view of the woman, from your point of view.'
'As a slave,' I said, 'it is not only permissible for you to yield to your deepest, most stirring, most primitive, most overwhelmingly feminine urges but you must do so, shamelessly, unqualifiedly, completely.'
'Yes, Master,' she cried, and thrust herself suddenly, piteously, against my hand. I then, by the hair, pulled her about and threw her lengthwise, prone, to the tiles. She looked up at me, over her shoulder. I saw wildness in her eyes. I saw that she had begun to sense what it might be to be an aroused slave.
'Whip,' I said, to a man. The whip was placed in my hand.
'Master?' asked the girt, apprehensively.
'I do not believe you were given permission to stop dancing earlier,' I said.
'No, Master,' she said.
'As you are a stupid girl and new to your condition, your punishment, this time, will be light. Three lashes.'
'Three!' she sobbed.
"Do not expect masters to be so lenient with your stupidity in the future,' I said.
'No, Master,' she wept.
Then, doubtless for the first time in her life, she who had been the proud free woman, the Lady Rowena of Lydius, naked, and on her belly on the tiles, felt, like the common girl she now was, the slave whip of Gor.
'Stand,' I told her. 'Back straight, belly in, breasts out. Lift your hands to your shoulders, flex your knees.'
'I have been whipped,' she said, disbelievingly.
'See the difference?' said a man to another at his table. 'How she stands?'
'Yes,' said the other.
I touched her here and there, with the whip, deftly, correcting a line, or the tension of a curve. She shrank back from the touch of the whip. She now knew what it could to do to her. She had felt it. After, a girl has once felt the whip the mere sight of it is usually enough to bring her immediately into line. 'What hangs upon the wall?' a master might ask. 'The slave whip, Master,' she responds. 'How may I be more pleasing?'
I handed the whip back to the fellow who had had it, and returned to my place at the table of Samos.
He signaled the musicians, and they began, again, to play.
I saw that it was a slave who danced before the men. She gyrated but inches from a burly oarsman, then leaped back, eluding his drunken grasp. She moved between the tables, a slave, an owned woman. Then she was kneeling beside a man, kissing and caressing him, and then, as though it were involuntary, as though her hands were tied behind her and she was being pulled back, away from him, by a rope, she retreated from him. In a moment she was showering another man with her hair and kisses. Then she offered a man wine, holding the goblet, pressing it Against her belly, swaying sensuously before him. She was then again in the center of the tiles, among the tables. She made as if to speak, and then, suddenly, stopped, as though startled. Then she took a wad of her long, golden hair and, swiftly balling it, thrust it, as though insolently, in her mouth. She then looked at the men reproachfully. It was as though a man, perhaps not desiring to hear her speak, had gagged her with her own hair. There was laughter. She drew the hair from her mouth, drawing some of it, in loosening it, deeply back between her teeth, with her head back, as though she might have been in the constraint of a gag strap, all this to the music, and then her hair was free, and, with a movement of her head and movements of her hands, beautifully, she draped and spread it about her. It seemed then she withdrew modestly, frightened, behind the hair, drawing it like a cloak or sheet about her, as though by means of this piteous device she might hope desperately to conceal at least some minimal particle of her beauty from the rude scrutiny of masters. But it was not to be permitted.
To a swirl of music, taking her hair to the sides, holding it, parting it, with clenched fists thrust behind her, twisting, her body thrust forward, her beauty was suddenly, it seemed as though by command, or by the action of another, brazenly based. 'Good!' said more than one man. There was a striking of shoulders in Gorean applause. Even some of the slave girls cried out with pleasure. The girl had done it well. Then she was again dancing among the tables. Her movements gave much pleasure. She entertained well. If Samos had known she would prove this good he might have put her in bells or a chain. I doubted that some of the things she had done, in all their abundance and richness, had been merely thought up on the spur of the moment. I suspected that many times in her dreams and fantasies she had danced thus before men, as a slave. Then, lo, one night in Port Kar she found herself truly a slave, and so dancing, and for her life.
As the music neared its climax she returned before our table, dancing desperately and pleadingly. It was there that was to be found her master.
She lowered herself to the floor and there, on her knees, and her sides, and her belly and back, continued her dance.
Men cried out with pleasure.
Floor movements are among the most stimulatory aspects of slave dance. I regarded her. She was not bad. She was, of course, not trained. A connoisseur of slave dance, I suppose, might have pointed out errors in the pointing of a toe, the extension of a limb, the use of a hand, not well framing the body, not subtly inviting the viewer's eye inward, and so on, but, on the whole, she was definitely not bad. Given her lack of training, a lack which could, of course, be easily remedied, she was not bad, really. Much of what she did, I suppose, is instinctual in a woman. Too, of course, she was dancing for her life.
She writhed well, an utterly helpless, begging slave. Then the music was finished and she was before us, kneeling, her head down, in submission to Samos. She lifted her head to regard Samos, her master. She searched his face fearfully, for the least sign of her fate. It was he who would decide whether she would live or die.
'For the moment, at least,' said Samos, 'you will not be thrown to sleen.'"
"Players of Gor" page 19/28

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Love Dance of the Walled Gardens of Ar

"'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. I was at her side, and she was in my arms. Her heart beat wildly against my breast. She looked into my eyes, her lips trembling, the words stumbling but audible. “Call for the iron,” she said. “Brand me, Master.”
“No, Talena,” I said, kissing her mouth. “No.”
“I want to be owned, “ she whimpered. “I want to belong to you, fully, completely in every way”.
I fumbled with the collar at her throat, unlocked it, threw it aside.
“You’re free, my love, “ I whispered. “Always free.”"
"Tarnsman of Gor" page 135

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The Passion Dance of a Nude Slave Girl

"The wench Leah again pressed herself against me. I looked down upon her. "You are a wanton slave," I said. She looked up at me, laughing. "A girl in a collar is not permitted inhibitions," she said. It was true. Slave girls must reveal their sexual nature, totally. Do they not do so, they are beaten. On Earth, Leah had been a prim girl, reserved, even haughty and formal. I had forced these truths from her. But on Gor, as with others of her ilk, such lies and false dignities were not permitted her. On Gor, should the girl be so unfortunate as to fall into slavery, the total depth of her needs, her sensations, her deepest and most concealed sensualities, must expose themselves helplessly to the master, even though he may, if he choose, mock her cruelly, to her misery, for her vulnerabilities. An example will make this clear. Every woman of glandular normality, has an occasional desire, often frightening her, to writhe, lasciviously, naked, before a powerful male. Should she miserablly fall to slavery the passion dance of a nude slave girl will surely be among the least of what is commanded of her. Consider then the plight of the girl. She is forced, to her shame, to do what she has, for years in the secret heart of her, yearned to do. But how helpless, how vulnerable, she is! The dance ended, she falls to the sand, or tiles. Has she pleased him? She can do no more. She looks up. Her pride is gone, like her clothing, save for brand and collar, stripped away. There are tears in her eyes. She is at his mercy. If he repudiates her, she is shamed; she has failed as a female. Probably she will be sold in disgust. But if she discovers, to her terror, that she has pleased him, and he gestures her to him, she knows that she , after such a performance, cannot be respected but can be only a slave in his arms. She has danced as a slave; she will be used as a slave. She is a slave. Leah looked up at me. I kissed her again, full on her rouged slave mouth. She kissed well, trembling. And earlier, too, she had danced well. And then, too, later, at first given no choice, then, excited, helplessy aroused, unrestrainable, abandoned, uncontrollable, had performed superbly, serving me well, in the furs. I looked down upon her. Eyes moist, she lifted her lips, eargerly, to mine. I kissed her again. I was pleased that the Forkbeard had given her to me.
"Marauders of Gor" page 278/9

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A Cosian Girl Dances to the "Hope of Tina"

"'May the melody also be,' said she, 'one in which a slave may be well displayed.'
'A block melody?' asked the flutist, addressing his question to Philebus.
'No,' said Philebus, 'nothing so sensuous. Rather, say, the 'Hope of Tina.'
Approval from the crowd met tthis proposal. The 'Hope of Tina,' a melody of Cos whuch would surely be popular with most of the fellows present, was an excellent choice. It was supposedly the expression of the yearning, or hope, of a young girl that she may be so beautiful, and so feminine, and marvelous, that she will prove acceptable as a slave.
'Why do you wish to dance before me?' asked the burly fellow of the slave.
'Did Master not wish to see a woman dance?' she asked.
He regarded her, puzzled. It was clear he did not recall her, but also clear, for he was no fool, that he suspected more was afoot that a mere compliance with a masterly whim, even though such whims, for the slave, in many contexts, constitute orders of iron.
To be sure, Temione was not a dancer, not in the strict trained sense, but she could move, and marvelously, and so, somehow, she did, swaying before him, and turning, but usually facing him, as though she wished not to miss an expression or an emotion that might cross his countenance. Yet, too, uncompromisingly, she was one with the music, and, particularly in the beginning, with the story, seeming to examine her own charms, timidly, as it, like the 'Tina' of the song, she might be considering her possible merits, whether of not she might qualify for bondage, whether or not she might somehow prove worthy of it, if only, perhaps, by inward compensations of zeal and love, whether or not she might, with some justification, aspire to the collar. Then later it seemed she danced her slavery openly, unabashedly, sensuously, so slowly, and so excitingly, before the men and, in particular, before the burly fellow. Surely now, all doubts resolved, there was no longer a question about the suitability of bondage for such a woman.
The collar looked well on her neck. It belonged there. There was no doubt about it.
How she looked at the burly fellow! He was now so taken with her he could hardly move.
Now the exquisite slut began to sense her power, that of her beauty and desirability.
She had determined, I now realized, from the first movement she had leaped to her feet, obedient to the command of her master, Philebus, that she would make test of her womanhood, that she would, courageously, regardless of the consequences, risking contempt and perhaps even punishment, display herself before him, this rude fellow who had once so scorned and tyrannized her as a free woman, as what she now was, ultimately and solely, female and slave. To be sure, she, new to her slavery, had perhaps not fully realized that she had really no chice in the matter but, willingly or not, must do so, and to the best of her ability, in total perfection."
"Vagabonds of Gor" page 37/40

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Feiqa Dances in the Alar Camp

"Dance," I told Feiqa.
"I do not know how to dance, Master," she moaned.
"In every female there is a dancer," I said.
"Master," she protested.
"I know you are not trained," I said.
"Master," she said.
"There are many forms of dance," I said. "Music is not even necessary. It need not even be more than beautiful movement. Move before the men, and about them. Move as seductively and beautifully as you can, and as a slve, swaying, crawling, kneeling, rolling , supine, prone, begging, pleading, piteous, caressing, kissing, licking, rubbing against them."
"Do I have a choice, Master?" she asked.
"No," I said. "absolutely not."
"Yes, Master," she said.
"Would you prefer for your pretty flesh to be lashed from your bones?" I asked.
"No, Master!" she said.
"And as the evening progresses, and as men might desire you," I said. "you will please them, and fully."
"Yes, Master," she said.
"You are slave, an absolute and total slave," I reminded her.
"Yes, Master," she said.
One of the fellows, then, began to sing, "Hei, Hei," and clap his hands.
Feiqa danced.
The men cried out with pleasure, many of them joining in the song, and keeping time with their hands. I was incredibly proud of her. How joyful it is to own females and have absolute power over them! Seldom, indeed, I imagined, did the rude herders of the Alars have such a vision of imbonded loveliness in their camp, in their arms. Such delicious females were not allowed in their camps, I gathered. The free women did not permit them. They probably had them hidden in wagons, until they could be sold off, or killed. How beautiful Feiqa was! What incredible power she excercised, though only a helpless slave, over men! How she pleased them and made them scream with pleasure! How incredibly basic, how fundamental, how real she was! I then felt a sudden, poignant sorrow for the women of Earth. How different Feiqua was from them. How far removed delicious, exquisite Feiqua was from the motivated artifices, the lies, fabrications, the propagands, the demeaning, sterile, unsatisfying, reductive, negative superficialities of antibiological roles, the prescriptions of an unnatural and pathological politics, the manipulative instrumentations of monsters and freaks. I wondered how many of the women of Earth wished they might find themselves in a collar, dancing naked in the firelight before warriors of an Alar camp.
"Disgusting! Disgusting!" cried the free woman, Boabissia in her leather and furs, having returned to the fire, and she rushed forward, a stout, thick, short, supple, single-bladed quirtlike whip in her hand. She began to lash Feiqa who fell to her knees, howling with misery, a whipped slave. "We do not allow such as you in an Alar camp!" cried the free woman. Feiqua put her head down. Again the lash fell on her.
"Feiqa will now again dance," I said.
I looked to Feiqua, still kneeling, her back bright with the memory of the free woman's attentions.
"You may continue to dance, Feiqa," I said.
"Yes, Master," she said.
The men cried out with approval, and smote their left shoulders with pleasure. In a moment Feiqa, vital and sensuous, liberated now from the fear of the free woman, and having felt the whip, in that perhaps being reminded of what might be the consequences of failing to please free persons, addressed herself once more, eagerly and joyously, marvelously and subserviently, to the pleasures of Masters. I was so aroused I was in pain. I could hardly wait to get her back to the camp of the wagoners. From time to time I glanced at Boabissia. She was on her side, trussed, watching Feiqa. In her eyes there was awe, understanding what a woman could be."
"Mercenaries of Gor" page 60/4

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Tuka Dances

"Tuka, Tuka!" called another fellow.
"She is extremely pretty," I said.
"She knows something of slave dance," said a fellow, licking his lips.
"Oh?" I said.
"Yes" he said.
"Tuka, Tuka, Tuka!" called more men.
The fellow, Teiber, looked down at his slave, who looked up at him, and quickly, timidly, kissed at his thigh. How much she was his, I thought.
"Tuka, to the circle!" called a fellow.
"She is a dancer," said a man.
"She is extraordinary," said another.
"Put Tuka in the circle!" called a fellow.
"Tuka, Tuka!" called another.
Teiber snapped his fingers once, sharply, and the slave leaped to her feet, standing erect, her head down, turned to the right, her hands at her sides, the palms facing backward. She might have been in a paga tavern, preparing to enter upon the sand or floor. I considered Teiber's Tuka. She had an excellent figure for slave dance.
"Clear the circle!" called a fellow.
The other dancers hurried to the side, to sit and kneel, and watch.
I considered the slave. She was beautiful, and well curved.
Teiber gestured to the circle.
"Ahh!" said men.
"She moves like a dancer," I said.
"She is a dancer," said a fellow.
I considered the girl. She now stood in the circle, relaxed, yet supple and vital, her wrists, back to back, over her head, her kneels flexed.
"She is a bred passion slave," I said, "with papers and a lineage going back a thousand years."
"No," said a man.
"Where did he pick her up," I asked, "at the Curulean?"
"I do not know," said a fellow.
I supposed she was perhaps a capture. I did not know if a fellow such as this Teiber, who did not seem of the merchants or rich, could have afforded a slave of such obvious value. A fellow, for example, who cannot afford a certain kaiila might be able to capture it, and then, once he has his rope on its neck, and manages to make away with it, it is his mount.
"Aii!" cried a fellow.
"Aii!" said I too.
Dancing was the slave!
"She is surely a bred passion slave," I said. "Surely the blood line of such an animal go back a thousand years!"
"No! No!" said a man, rapt, not taking his eyes from the slave.
I regarded her, in awe.
"She is trained of course," said a man.
Only to obviously was this a trained dancer, and yet, too, there was far more than training involved. Too, I speak not of such relatively insignificant matters as the mere excellence of her figure for slave dance, as suitable and fitting as it might be for such and art form, for women with many figures can be superb in slave dance, or that she must possess a great natural talent for such a mode of expression, but something much deeper. In the nature of her dance I saw more than training, her figure, and her talent. Within this woman, revealing itself in the dance, in its rhythm, its joy, its spontaneity, its wonders, were untold depths of femaleness, a deep and radical femininity, unabashed and unapologetic, a rejoicing in her sex, a respect of it, a love of it, an acceptance of it and a celebration of it, a wanting of it, and of what she was, a woman, a slave, in all of its marvelousness.
"Tuka, Tuka!" called men.
Men clapped their hands.
The slave danced.
Much it seemed to me, though there might be two hundred men about the circle, she danced for her Master.
Once he even indicated that she should move more about which, instantly, commanded, she did.
"Tuka, Tuka!" even called some of the other slaves about the edges of the circle, sitting and kneeling there, unable to take their eyes from her, clapping, too. Teiber's Tuka it seemed, was popular even with the other slaves, of which she was such a superb specimen.
I watched her moving about the circle.
"Aii!" cried men, as she would pause a moment to dance before them. I had little doubt she might once have been a tavern dancer. Such dancers must present themselves in such a fashion before customers. This gives the customer an opportunity to assess them, and to keep them in mind, if he wishes, for later use in an alcove.
"Aii," cried another fellow.
I speculated that she would not have languished for attention in the alcoves.
"She is superb," said the flow next to me.
"Yes," I said.
She was working her way about the circle.
It was interesting to me that a Master would dare to display such a slave publicly. I gathered that he was quite confident of his capacity to keep her. He must then, I suspected, be excellent with the sword.
"Ah," said the fellow next to me.
The dancer approached.
How marvelous are the Gorean women, I thought. And I thought then, too, sadly, of the women of Earth, so many of them so confused, so miserable, so unhappy, women not knowing what they were,or what they might be, women trapped in a maze of ultimately barren artifices, women subjected to social coercions, women subjected to antibiological constraints, women forced to deny themselves and their depth natures in the name of freedom, women trying to be men, not knowing how to be women, women torturing themselves and others with their confusions, their inhibitions, their pain, their frustrations. But I did not blame them for they were the victims of pathological conditioning programs. Any beautiful, natural creature can be clipped and then instructed to rejoice i n its mutilations and mishappenness. So inhibit, so frigid, so inert, so anesthetic. That so many of them could even feel their pain was, I supposed, a hopeful sign. If their culture was correct, or judicious, why did it contain so much unhappiness and pain? In a body, pain is an indication that something is wrong. So, too, it is in a culture.
Then the dancer was before me, and I was awed with beauty.
I kept her there before me for a moment, not letting her move away, my gaze holding her.
I wept then for the men of Earth, that they would not know such beauties. How utterly marvelous are the Gorean females! How utterly different they are from the women of Earth! How impossible would it be for a female of Earth to match them!
I watched the dancer then move to the next fellow, and turn about.
Suddenly I was stunned. High on her left arm there was a small, circular scar. It was not, surely, in that place, and given its nature, the result of a marking iron. Indeed , it is by means of such tiny indications, fillings in the teeth, and such, that a certain sort of girl, for which there is a market on Gor, is often recognized.
"She is not from Gor!" I said.
"She is from far away," said the fellow next to me.
"From the distand land," said another.
"Called "Earth,'" said another.
"Yes," I said.
The mark on the girl's arm had not been the result of the imprint of a master's iron. It had been a vaccination mark. I had noted, too, interestingly, just before she had whirled away, that she was shy. I assessed her as being quite intelligent, extremely sensitive, and an excellent slave.
She had now, as the music swirled to its finish, returned to move before her Master. Then, the dance ended, men striking their left shoulders in Gorean applause, shouting their vociferous approval, some armed warriors striking their shields with spear blades, she sank to the ground, on her back, breathless, breasts heaving, covered with a sheen of sweat, before her Master, her left knee raised, her head turned toward him, then palms of of her hands, at her sides, vulnerably exposed.
She had been superb. My shoulder was sore where I had much struck it.
Then with a sensuous, fluid movement she rose to her knees before her Master. She spread her knees, widely. She regarded him, beggingly. The dance had much aroused her, and she was totally his, completely at his will, his pleasure and mercy.
"Our gratitude , Teiber!" cried a fellow."
"Magicians of Gor" page 52/6

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A Flute Dance

"On the wall, in the trough of the breach, we saw four men rolling a heavy stone toward the field side of the wall. A flute girl was parodying, or accompanying, their efforts on the flute, the instrument seeming to strain with them, and then, when they rolled the stone down, she played a skirl of descending notes on the flute, and, spinning about, danced away. The men laughed.
There was suddenly near us, startling us, another skirl of notes on a flute, the common double flute. A flute girl, come apparently from the wall side of the Wall Road, danced tauntingly near us, to our right, and, with the flue, while playing, gestured toward the wall, as though encouraging us to join the others in their labor. I, and Marcus, I am sure, were angry. Not only had we been started by the sudden intrusive noise, which the girl must have understood would have been the case, but we resented the insinuation that we might be such as would of our own will join the work on the wall. Did she think we were of Ar, that we were of the concquered, the pacified, the conpredictable, the tamed? She was an exciting brunet, in a short tunic of diaphanous silk. She was slender, and was probably kept on a carefully supervised diet by her master or trainer. Her dark eyes shone with amusement. She pranced before us, playing. She waved the flute again towards the wall.
We regarded her.
She again gestured, playing, toward the wall.
I had little doubt that she assumed from our appearance in this area that we were of Ar.
We did not move.
A gesture of annoyance crossed her lovely features. She played more determinedly, as though we might not understand her intent.
Still we did not move.
Then, angrily, she spun about, dancing, to return to her former post near the wall side of the Wall Road. She was attractive, even insolently so, at the moment, in the diaphanous silk."
"Magicians of Gor" pages 120/1

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Dance on the Block

"Again the auctioneer looked to the box of Samos, First Slaver of Port Kar. "Does noble Samos now care to express interest?" inquired the auctioneer. "Let them perform," said Samos.
Again the auctioneer bowed to Samos. The crowd shouted with delight. "Shall Pleasure Silks be bought?" inquired the auctioneer.
"No," said Samos.
Again the crowd roared with its pleasure. The Musicians took up their instruments and, together, as three slaves, women who would be owned by men, the girls danced.
In the crowd men cried out with pleasure; I heard even gasps from women, perhaps amazingly, startled that their sex was capable of such beauty; the eyes of some of the women shone with ill-concealed admiration and excitement; I could mark the quickness of their breath in their veils; the eyes of others seemed terrified, and, shrinking, they looked from the block about themselves, suddenly fearing the men with whom they shared the tiers; I heard the tearing of a veil and heard a girl scream and turned to see her lips being raped by the kiss of a Warrior, and then she was yielding to him; the crowd went wild; here and there there was the cry of a woman in the throng who was seized by those near her; one girl tried to flee and was dragged screaming by the ankle to the foot of a tier; another woman, with her own hands, tore away her veil and seized in her hands the head of a man near her, pressing her lips to his, and in a moment, she lay, robes torn, in his arms, weeping, crying with pleasure.

"Four dances the girls danced while the crowd screamed and roared, and then, at an instant, their dances ended, they stood suddenly motionless, splendid, animal, magnificent, inciting. Then they, breathing deeply, stained with sweat, stepped back on the block, and the auctioneer stepped forward.
He did not even call for a bid."
"Assassin of Gor" pages 304

"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 she will soon be in the arms of a strong master. When the dance ended the three girls, slaves, knelt in the position of submission, back on their heels, arms extended, heads lowered, wrists crossed as though for binding; Elizabeth knelt facing the crowd and perpendicular to her, on her left and right knelt Virginia and Phyllis, a vunerable, submitted flower of slave girls."
"Assassins of Gor" page 308

"There were now some four or five girls in the circle. ; One wore a sign that said, "I am for sale."
The girl who wore the sign, "I am for sale," danced before us, as she had before others, displaying her Master's proffered merchandise. ; I saw that she wanted to be purchased. that was obvious in the pleading nature of her dance. ; Her Master was perhaps a dealer, and one, as are many, who is harsh with his stock. ; Her dance, thusly, was rather like the "Buy me, Master" behavior of a girl on a chain, the "slaver's necklace," or in the market, the sort of behavior in which she begs purchase. ; A girl on such a chain, or in a market, who is to much passed over has reason for alarm. ; Not only is she likely to be lowered on the chain, perhaps even to "last girl," which is demeaning to her, and a great blow to her vanity, but she is likely to be encouraged to greater efforts by a variety of admonitory devices, in particular, the switch and whip. ; Earth-girl slaves brought to Gor, for example, are often, particularly at first, understandably enough, I suppose, afraid to be sold, and accordingly, naturally enough, I suppose, sometimes attempt, sully in subtle ways, to discourage buyers, thereby hoping to be permitted to cling to the relative security of the slaver's chain. ; Needless to say, this behavior is soon corrected and, in a short time, only to eager now to be off the slaver's chain, they are displaying themselves, and proposing themselves, luscious, eager, ready, begging merchandise, to prospective buyers.
The girl for sale was a short legged brunet, extremely attractive. I considered buying her, but decided against it. This was not the time for buying slaves. I gestured to her to dance on. She whirled away. A tear moved diagonally down her cheek.
She might, of course, not belong to a dealer.
There are many reasons why a master might put his girl, or girls, up for sale, of course. ; He might wish, for example, if he is a breeder, to improve the quality of his pens or kennels, trying out new blood lines, freshening his stock, and such. ; He might wish, casually, merely to try out new slaves, perhaps ridding himself of one to acquire another, who may have caught his eye. ; Perhaps he wants to keep a flow of slaves in his house, lest he grow to attached to one, always a danger. ; Too, of course, economic considerations sometimes become paramount, these sometimes dictating the selling off of chattels, whose value, of course, unlike that of a free woman, constitutes a source of possible income. ; Indeed, there are many reasons for the buying and selling of slaves, as there are for other forms of properties.
I continued to watch the female, the sign about her neck dance. ; No, I said to myself, it would not do to bring her into peril. ; Then I chastised myself for weakness. ; One would not wish to purchase her, of course, because she might constitute encumbrance. ; Still, she was attractive. Even as I considered the matter she received a sign from a fellow, her Master, I suppose, and she tore open her silk, and danced even more plaintively before one fellow and then another. She seemed frightened. ; I suspected she had been warned as to what might befall her ifs he should prove unsuccessful in securing a buyer. ; I saw her glance at her Master. ; His gaze was stern, unpitying, She danced in terror.
I saw that the girl with the sign about her neck had taken a leaf from the book of the blonde, and cunningly, too. ; She, too was now on her knees, advertising her charms, attesting mutely to the joys and delicacies that would be attendant upon her ownership. ; I saw her owner look at her, startled. She, of course, did not see him. I gathered he had never seen her in just this fashion or way before, her silk parted, writhing on her knees, kissing, lifting her hands, her head moving, her hair flung about. ; "I will buy her!" called a fellow. "How much do you want?" inquired another, eagerly. ; her Master rushed into the circle. ; "Close your silk, lascivious slut!" he ordered her. ; Swiftly she clutched the silk about her, startled, confused, kneeling small before him. ; He looked about, angrily. ; He jerked her by one arm to her feet. She struggled to keep her silk closed with the other hand. ; "She is not for sale!" he said. ; He then drew her rapidly from the light, into the darkness outside the circle. ; We heard a tearing of silk. ; There was much laughter."
"Magicians of Gor" pages 43/7

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Panther Dances

"I straightened my body and, tears in my eyes, walked between the trees, in the moonlight.
After some hundred yards I came to the edge of a clearing. It was some twenty-five to thirty yards in diameter, ringed by the lofty trunks of Tur trees. The floor of the clearing was lovely grass, thick and some inches in height, soft and beautiful. I looked up. Bright in the dark, star strewn Gorean sky, large, dominating, seemingly close enough to touch, loomed the three moons of Gor.
The girls of Verna's band stood about the edge of the circle. They did not speak. They were breathing deeply. They seemed restless. Several had their eyes closed, their fists clenched. Their weapons had been discarded.
I saw, at one side of the clearing, the post.
It was about five feet high, and seven inches thick, sturdy, sunk deep in the ground. In its back, there were two heavy metal rings, one about two feet from the ground, the other about three and a half feet from the ground. It was a rough post, barked. On its front, near the top, carved, cut into the bark with the point of a sleen knife, was a crude representation of opened slave bracelets. It was a slave post.
I went and stood before it, Elinor Brinton, the slave.
Briefly, through my mind flashed the memory of my former riches, of the penthouse, the Maserati, my luxuries, and education and travels, my former status and power, and then of my capture and my transportation to this rude world.
"Kneel," snapped Verna.
I did so.
Verna resnapped the leather and metal choke collar on my throat. She then threaded the leash through the ring, about three and half feet high, behind the post, brought the leash about and looped it, from the left to the right, about my neck and then rethreaded it through the ring, pulling it tight. I was bound by the neck to the post. Then she threaded the free end of the leash through the lower of the two rings, passed it about my belly, and rethreaded it again through the same ring, keeping it tight, fastening me at the waist to the post. With the free end of the leash, keeping it taut, she then lashed my ankles together behind the post. I was bound, save that my hands were free.
Verna took the length of binding fiber from her skins, that which had formerly bound my wrist.
"Place you hands above your head," she said.
I did so.
She tied the binding fiber securely about my left wrist, took the fiber behind the post, threaded it through the highest of the two metal rings, and then, jerking my right wrist back, bound it, too, fastening me to the post.
I knelt, secured.
“Docile slave," sneered Verna."
"Captive of Gor" page 131/2

"There was a long silence, of some Ihn, and then, at a nod from Hura, who threw her long black hair back and lifted her head to the moons, the drum began again its beat. Mira's head was down, and shaking. Her right foot was stamping. The panther girls put down their heads. I saw their fists begin to clench and unclench. They stood, scarcely moving, but I could sense the movement of the drum in their blood.
The men of Tyros glanced to one another. It was few free men who had ever looked, unbound, on the rites of panther girls.
Hura's eyes were on the moons. She lifted her hands, fingers like claws, and screamed her need.
The girls then, following her, began to dance. (...)
I looked at the circle.
It might have been a rite not of women, but of she-panthers. How starved must be the lonely, hating panther women of the forests, so gross is their hostility, so fierce their hatred, and yet need, of men. They twisted, screaming now, clawing at the moons. I would scarcely have guessed at the primitive hungers evident in each movement of those barbaric, feline bodies. They would be masters of men. Proud, magnificent creatures. And yet by biology, by their beauty, by their aroused inwardness, could not, in fact, own but only, in their true fulfillment, belong, be taken, be conquered. (...)
The drum was now very heady, swift. The dance of the panther girls became more wild, more frenzied. Vicious, sinuous, clawing, lithe, these savage beauties, in their skins and gold, with their knives, their light spears, weapons darting, danced. They were terrible, and beautiful, in the streaming, flooding light of the looming, primitive moons of perilous Gor. I could hear their cries of rage and need, hear their heels striking in the earth, their hands slapping at their thighs. I saw the teeth of some, white, bared, at the moons, their eyes blazing. The hair of all was unbound. Several had already, oblivious of the presence of the men of Tyros, torn away their skins to the waist, others completely. On some I could hear the movement of the necklaces of sleen teeth tied about their necks, the shivering and ringing of slender golden bangles on their tanned ankles. In their dance they danced among the staked out bodies of the men of Marlenus, and about the great Ubar himself. Their weapons leapt at the bound men, but never did the blows fall. (...)
The dance would soon strike its climax. It could continue little longer. The women would go mad with their need to strike and rape.
Suddenly the drum stopped and Hura stopped, her body bent backward, her head back, her long black hair falling to the back of her knees.
She was breathing deeply, very deeply. Her body was covered with a sheen of sweat."
"Hunters of Gor" page 197/9

"Verna!" spoke one of the girls.
"Very well!" said Verna, irritably. "Very well!"
The first girl to leap to the center of the circle was she who had first held my leash.
She had blond hair. Her head was down, and shaking. Then she threw back her head, moaning, and reached up, clawing for the moons of Gor. The other girls too, responded to her, whimpering and moaning, clenching and unclenching their fists.
The first girl began to writhe, crying out, stamping in the circle.
Then another girl joined her, and another, and another. And then another! Stamping, turning, crying out, moaning, clawing at the moons, they danced.
Then there were none who had not entered that savage circle, save Verna, the band's leader, proud and superb, armed and disdainful, and Elinor Brinton, a bound slave.
The first girl, throwing back her head to the moons, screamed and tore her skins to the waist, writhing.
Then, for the first time I noticed, in the center of the circle, there were four heavy stakes, about six inches in height, dark in the grass. They formed a small, but ample, square. I shuddered. They were notched, that binding fiber might not slip from them.
The first girl began to dance before the square.
I looked up into the sky. In the dark sky the moons were vast and bright.
Another girl, crying out, tore her own skins to the waist and clawing, moaning, writhing, approached the square. Then another, and another!
I did not even look upon Verna, so horrified I was at the barbaric spectacle. I had not believed that women could be like this.
And then the first girl tore away her skins and danced in her golden ornaments beneath the huge, wild moons, on the grass of the circle, before the square.
I could not believe my eyes. I shuddered, fearing such women.
Then suddenly, to my amazement, Verna cried out in anguish, a wild, moaning, anguished cry, and threw from herself her weapons and tore away her own skins and leaped into the circle, turning and clawing and crying out like the others. She was not other than they, but first among them! She danced savagely, clad only in her gold and beauty, beneath the moons. She cried out and clawed. Sometimes she bit at another girl or struck at her, if she dared approach the square more closely than she. Writhing, enraged, but fearful, eyes blazing, dancing, they fell back from her.
She danced first among them, their leader.
Then, throwing her head back, she screamed, shaking her clenched fists at the moons.
And then, helplessly, she shrew herself to the grass within the square, striking at it, biting and tearing at it, and then she threw herself on her back and, fists clenched, writhed beneath the moons.
And then, helplessly, she threw herself to the grass within the square, striking at it, biting and tearing at it, and then she threw herself on her back and, fists clenched, writhed beneath the moons.
One by one the other girls, too, violently, threw themselves to the grass, rolling upon it, and moaning, some even within the precincts of the square, then throwing themselves upon their backs, some with their eyes closed, crying out, others with their eyes open, fixed helplessly on the wild moons, some with hands tearing at the grass, others pounding the earth piteously with their small fists, sobbing and whimpering, their bodies uncontrolled, helpless, writhing, under the moons of Gor.
I found myself pulling at my bonds, suddenly aching with an inexplicable loneliness and desire. I pulled at the fiber that bound my wrists, so cruelly back; my throat pressed against the straps on my throat, almost choking me; my belly writhed under its strap; my ankles moved again one another, helpless in the leather confinement of the knotted strap. I looked up at the moons. I cried out in anguish. I wanted to be free, to dance, to cry out, to claw the moons, to throw myself on the living, fibrous, flowing grass, to writhe with these women, my sisters, to writhe with them in the frenzy of their need.
No, I cried out to myself, no, no! I am Elinor Brinton! I am of Earth! No, no!
“Kajirae!" I screamed at them. "Kajirae!" "Slaves! Slaves!"
There was no fear in my voice, but almost hysterical triumph! "Slaves!" I screamed at them. "Slaves!" I then knew myself better that they! I was superior! I was above them! Though I was bound and branded I was a thousand times greater and finer than they. I was Elinor Brinton! Though I might be stripped, though I might be tied to a slave post, I was greater and finer, and of nobler stock, than they. They were naught but slaves.
"Kajirae!" I screamed at them. "Kajirae!" Slaves! Slaves!"
They paid me no attention.
I cried out at them hysterically, and then was quiet. My limbs ached, particularly my arms, tied so cruelly back, but I was not displeased. The moons fled across the black sky, burning with its bright stars. The girls lay now quietly on the grass, some still whimpering slightly, many with their eyes closed, some lying on their stomachs, their face pressed against the grass, the stain of tears on their cheek, mingling into the grass. It was colder now, and I felt chilly, but I did not mind. I was now, though bound and stripped, well pleased with myself. I had regained my self-respect. I now knew myself superior to such women, to such despicable things, as these.
At last the girls, one by one, rose from the grass, drew on again their skins, and took up their weapons.
Then, Verna at their lead, they approached me.
I knelt by the post, very straight.
"It seemed to me," I said, "that your bodies moved as might have those of slave girls."
My head leaped to the side, stinging, as Verna, with all her might, slapped me.
Then she looked at me. "We are women," she said.”
"Captive of Gor" pages 132/5

"The girls now knelt about me, in a circle. They were silent.
I looked up at the large, white, swift moons. There were three of them, a larger, and two smaller, looming, dominating. The girls were breathing heavily. They had set aside their weapons.
The girls were breathing heavily. They had set aside their weapons.
They knelt, their hands on their thighs, occasionally lifting their eyes to the moons. Their eyes began to blaze. They put back their heads. Their lips parted. Their hair fell behind their heads, their faces lifted to the rays of the moons. Then, together, they began to moan and sway from side to side. Then they lifted their arms and hands to the moons, still swaying from side to side, moaning. I pulled at the thongs that bound me. Then their moaning became more intense and the swaying swifter and more savage, and, crying out and whimpering, they began to claw at the moons.
Mira leaped to her feet and tore her skins to the waist exposing her breasts to the wild light of the flooding moons. She shrieked and tore at the moons with her fingernails. In an instant another girl, and then another, and another, had followed her example. Only Verna still knelt, her hands on her thighs, looking at the moons. Beneath the moons, helplessly, I sought to free myself. I could not do so.
Mira now, the others following, crying out, tore away the scraps of panther skin that had yet concealed their beauty. They now wore only their gold, and their ornaments. Now, moaning, crying out, the she-beasts of the forest, the panther girls, hands lifted, clawing, began to stamp and dance beneath the fierce brightness of the wild moons.
Then suddenly they stopped, but stood, still, their hands lifted to the moons.
Verna threw back her head, her fists clenched on her thighs, and cried out, a wild scream, as though in agony.
She leaped to her feet and, looking at me, tore away her skins.
My blood leaped before her beauty.
But she had turned away and naked, her head back, had lifted her hands, too, clawing at the moons.
Then all of them, together, turned slowly to face me. They were breathing heavily. Their hair was disheveled, their eyes wild.
I lay before them, helpless.
Suddenly, as one, they seized up their light spears, and, swaying, spears lifted, began to circle me.
They were incredibly beautiful.
A spear darted toward me, but did not strike me. It was withdrawn.
It could have killed me, of course, had its owner wished. But it had spared me.
Then, about me, the panther girls, circling, swaying, began a slow stalking dance, as of hunters. I lay in the center of the circle.
Their movements were slow, and incredibly beautiful. Then suddenly one would cry out and thrust at me with her spear. But the spear was not thrust into my body. Its point would stop before it had administered its wound. Many of the blows would have been mortal. But many thrusts were only to my eyes, or arms and legs. Every bit of me began to feel exposed, threatened. I was their catch.
Then the dance became progressively swifter and wilder, and the feigned blows became more frequent, and then, suddenly, with a wild cry, the swirling throng about me stood for an instant stock still, and then with a cry, each spear thrust down savagely toward my heart.
I cried out.
None of the spears had struck me.
The girls cast aside the spears. Then, like feeding she-panthers they knelt about me, each one, with her hands and tongue, touching and kissing me.
I cried out with anguish.
I knew I could not long resist them."
"Hunters of Gor" page 137/9

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FREE WOMEN

General

"The dancing of a slave is a thousand times more sensous than that of a free woman because of the incredible meanings involved, the additional richness which this furnishes, the explosive significance of this comprehension, that she who dances is owned, and theoretically, could be owned by you."
"Dancer of Gor" Page 193

"Certainly, however, not all women are legal slaves. Many women are free, legally, whether it is in their best interest or not. Such dances, then, 'slave dances,' at least on Gor, are not for such women. If a 'free woman,' that is, one legally free, were to publicly perform such a dance on Gor she would probably find herself in a master's chains by morning. Her 'legal freedom,' we may speculate, would prove quite fleeting. It would soon be replaced, we may suppose, with a new and more appropriate status, that of being a slave legally, a status fixed on her then with all the clarity and obduracy of Gorean law, and fixed on her for all the world to see, fixed on her as plainly as the collar on her neck and the mark on her thigh."
"Dancer of Gor" Page 172

"A familiar bit of advice given by bold Gorean physicians to free women who consult them about their frigidity is, to their scandal, "Learn slave dance." Another bit of advice, usually given to a free woman being ushered out of his office by a physician impatient with her imaginary ailments is, "Become a slave." Frigidity, of course, is not accepted in slaves. If nothing else, it will be beaten out of their beautiful hides by whips."
"Guardsman of Gor" page 260

"In this form of slavery, which is commonly used for disciplinary purposes, or for the amusement of the master, the woman is not permitted to arise from all fours; similarly she is not permitted human speech, though she may signify needs and desires by such means as cringing, and moaning and whimpering. Not permitted the use of her hands, save as a means of locomotion, she must also eat and drink from pans set on the floor, or, sometimes, to satisfy her thirst, she must lap the water permitted to her from puddles or lick pillages from the tiles; too, it is not uncommon to chain her near her master's feet, while he dines, that he may, if he wishes, throw her scraps of food. She will also be taught tricks, through which paces she may be put for the entertainment of her master's guests, such things as begging, lying down, rolling over, and fetching his sandals in her teeth. And, needless to say, when her master wishes to use her sexually, it will be in a position common to the she-quadruped.
This form of slavery, incidentally, is often imposed on captured Ubaras. After a time, it is not unusual for the Ubara, on her belly before her master, given an Ehn its which to speak, to beg, in lieu of the slavery of the she-quadruped, that she be taught the salacious arts and lascivious dances of the female slave, that she may then be less a more amusement for her master than a feast of slave pleasure for him. Her plea is usually granted. Such women tend to become superb slaves. They know, of course, that they may be, at any moment the master pleases, returned to the slavery of the she-quadruped."
"Guardsman of Gor" page 225/6

"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."
"Guardsman of Gor" page 264/5

More than fifty slave girls, their hair coiffured high on their heads, clad in sleeveless, classic gowns of white silk, were aligned on the walk nearest the wall containing the iron door, that leading within to the halls of the fortress. To the music of the musicians, near the iron door, they performed a most decorous dance, slowly and gracefully lifting their arms and turning, facing first one side and then the other. In their hands they held baskets of flower petals. The dance was the sort that free maidens of a city might perform to honor and welcome visiting dignitaries, or the ambassador and his entourage, of a foreign city. Had their gowns not been sleeveless, and had they not been barefoot, and had their throats not been locked in collars, one might have mistaken them for free women. I could smell viands, too, cooking, the delicious odors of them emanating from the holding. A feast was being prepared.
I did not see either the slave, Beverly, or the slave, Florence, among them. Doubtless they, like many of the other slaves, were within the holding, preparing, under whips, the feast for their masters. I regarded the slaves. Even in such gowns and in the performance of movements so decorous I found them maddeningly exciting. How excruciatingly beautiful and desirable are women! How difficult it is even to look upon them and not scream with desire. One could scarcely conceive of what such women would be later at the feast when, stripped or clad in rags, or perhaps insulted with a bit of silk, perhaps tied about their left ankle, they must, in the full exposure of their slavery, present themselves before strong men. I did not think their dances then would be so decorous, but would be such as to manifest the full sexual needs of women, under the command of men. I could conceive of them crawling on their knees, if so commanded, serving. I could conceive of them, as I had seen them at other Gorean feasts, their bodies stained with food and drink, caught by the hair, thrown on the low tables and raped by masters, and then raped again. They were naught but slaves. There was no service, pleasure or intimacy so delicious, so profound, so prosaic or so unexpected, that they must not render, and swiftly, at the merest whim of a master. They were, after all, naught but slaves.
"Guardsman of Gor" page 97/8

Dance of the Rencer Girls

"Then, suddenly, the crowd stopped clapping and singing.
There was silence.
Then there came a drumming sound, growing louder and louder, a man pounding on a hollowed drum of rence root with two sticks, and then, as suddenly as the singing and clapping, the drum, too, stopped.
And then to my astonishment the rence girls, squealing and laughing, some protesting and being pushed and shoved, rose to their feet and entered the clearing in the circle.
The young men shouted with pleasure.
One or two of the girls, giggling, tried to slip away, fleeing, but young men, laughing, caught them, and hurled them into the clearing of the circle.
Then the rence girls, vital, eyes shining, breathing deeply, barefoot, bare-armed, many with beads worn for festival, and hammered copper bracelets and armlets, stood all within a circle.
The young men shouted and clapped their hands.
I saw that more than one fellow, handsome, strongfaced, could not take his eyes from Telima.
She was, I noted, the only girl in the circle who wore an armlet of gold.
She paid the young men, if she noticed them, no attention."
"Raiders of Gor" page 44/5

"The rence communities tend to be isolated. Young people seldom see one another, saving those from the same tiny community. I remember the two lines, one of young men, the other of girls, jeering and laughing, and crying out at one another in the morning.
Then the man with the drum of hollow rence root began to drum, and one fellow had bits of metal, strung in a circular wire, and another a notched stick, played by scraping it with a flat spoon of rence root.
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 dancers 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.
It is often lonely on the rence islands, and festival comes but once a year.
The bantering of the young people in the morning, and the display of the girls in the evening, for in effect in the movements of the dance every woman is nude, have both, I expect, institutional roles to play in the life of the rence growers, significant roles analogous to the roles of dating, display and courtship in the more civilized environments of my native world, Earth.
It marks the end of a childhood when a girl is first sent to the circle."
"Raiders of Gor" page 45/6

"Suddenly, before me, hands over her head, swaying to the music, I saw the dark-haired, lithe girl, she was so marvelous, slender legs in the brief rence skirt; her ankles were so close together that they might have been chained; and then she put her wrists together back to back over her head, palms out, and though she wore slave bracelets.
Then she said, "Slave," and spit in my face, whirling away.
I wondered if it might be she who was my mistress.
Then another girl, the tall, blond girl, she who had held the coil of marsh vine, stood before me, moving with excruciating slowness, as though the music could be reflected only from moment to moment, in her breathing, in the beating of the heart.
"Perhaps it is I," she said, "who am your mistress."
She, like the other, spit then in my face and turned away, now moving fully, enveloped in the music's flame.
One after another of the girls so danced before me, and about me, taunting me, laughing at their power, then spitting upon me and turning away.
The rencers laughed and shouted, clapping, chering the girls on in the dance.
But most of the time I was ignored, as much as the pole to which I was bound.
Mostly these girls, saving for a moment or two to humiliate me, danced their beauty for the young men of the cicles, that they might be desired, that they might be much sought.
After a time I saw one girl leave the circles, her head back, hair flowing down her back, breathing deeply, and scarcely was she through the circles of rencers, but a young man followed her, joining her some yards beyond the circle. They stood facing one another in the darkness for an Ehn or two, and then I saw him, gently, she not protesting, drop his net over her, and then, by this net, she not protesting, he led her away. Together they disappeared in the darkness, going over one of the raft bridges to another island, one far from the firelight, the crowd, the noise, the dance.
Then, after some Ehn I saw another girl leave the circle of the dance, and she, too, was joined beyond the firelight by a young man and she, too, felt a net dropped over her, and she, too, was led away, his willing prize, to the secrecy of his hut.
The dance grew more frenzied.
The girls whirled and writhed, and the crowd clapped and shouted, and the music grew ever more wild, barbaric and fantastic.
And suddenly Telima danced before me.
I cried out, so startled was I by her beauty.
It seemed to me that she was the most beautiful woman I had ever seen, and before me, only slave, she danced her insolence and scorn. Her hands were over her hand and, as she danced, she smiled, regarding me. She cut me with her beauty more painfully, more cruelly, than might have the knives of a torturer. It was her scorn, her contempt for me she danced. In me she aroused agonies of desire but in her eyes I read that I was but the object of her amusement and contempt.
And then she unbound me.
"Go to the hut," she said.
I stood there at the pole.
Torrents of barbaric music swept about us, and there was the clapping and the shouting, and the turning, and the twisting and swirling of the rence girls, the passion of the dance burning in their bodies.
"Yes," she said. "I own you."
She spat up into my face.
"Go to the hut," she said."
"Raiders of Gor" pages 49/51

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FREE MEN DANCES

The Ship Dance

"Near the pit of sand several slave girls, dancers, in Pleasure Silk were kneeling back on their heels and clapping their hands in with glee. In the pit of sand one of the guards, utterly drunk, was performing a ship dance, the movement of his legs marvelously suggesting the pitch and roll of a deck, his hands moving as though climbing rope, then hauling rope, then splicing and knotting it. I knew he had been in Port Kar. He was a cutthroat but there were drunken tears in his eyes as he hopped about, pantomiming the work of one of the swift galleys. It is said that men once having seen Thassa are never willing to leave it again, that those who have left the sea are never again truly happy. (...)
The man who had been dancing the ship dance had now left the pit of sand, and over against one wall, in the shadows of the torchlight, largely unnoted, danced alone, danced for himself the memories of gleaming Thassa and the swift black ships, the Tarns of the Sea, as the galleys of Port Kar are known."
"Assassin of Gor" page 240

The Larl Hunters Dance

"A moment later another guard leaped into the pit of sand and to the amusement of the girls, began a dance of larl hunters, joined by two or three others, in a file, dancing the stalking of the beast, the confrontation, the kill."
>"Assassin of Gor" page 240

The Oar Dance of Torvaldsland

"I saw people running down the sloping green land, toward the water. Several came form within the palisade. Among them, white kirtled, collared, excited, ran bond-maids. These, upon the arrival of their Maste,r are premitted to greet him. The men of the north enjoy the bright eyes, the leaping bodies, the squealing, the greetings of their bond-bond maids. In the fields I saw an overseer, clad in scarlet, with a gesture of his hand, releasing the thralls. Then, they, too, ran down toward the water.
It would be holiday, I gathered, at the hall of Ivar Forkbeard.
The Forkbeard himself now, from a wooden keg, poured a great tankard of ale, which must have been of the measure of five gallons. over this he then closed his fist. It was the sign of the hammer, the sign of Thor. The tankard then, with two great bronze handles, was passed from hands to hands among the rowers. The men threw back their heads and, the liquid spilling down their bodies, drank ale. It was the victory ale.
Then the Forkbeard himself drained the remains of the tankard, threw it to the foot of the mast, and then, to my astonishment, leapt from the ship, onto the moving oards. Then men sang. The Forkbeard then, to the delight of those on the bank, who cheered him, as the serpent edged into the dock, adressed himself delightedly to the oar-dance of the rover of Torvaldsland. It is not actually a dance, of course, but it is an athletic feat of no little stature requiring a superb eye, fantastic balance and incredible coordination. Ivar Forkbeard, crying out, leaped from moving oar to moving oar, proceeding from the oars nearest the stem on the port side to the stern, then leaping back onto the deck at the stern quarter and leaping again on the oars this time on the starboard side, and proceeding from the oar nearest the stern to that nearest the stem, and then, lifting his arms, he leaped again into the ship, almost thrown into it as the oar lifted. He then stood on the prow, near me, sweating and grinning. I saw cups of ale, on the bank, being lifted to him. Men cheered. I heard the cries of bond-maids."
"Marauders of Gor" page 82/3

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