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 definately 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 the sleen."
{Players of Gor, pages 19 - 28}
"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.
The musicians began to play, and the girls in Pleasure Silks, hands over their heads, lifted themselves slowly to the melody, their bodies responding to it as though to the touch of a man. "These girls are not much good yet," said Ho-Tu. "They are only in the fourth month of their training. 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."
I myself would have spoken more highly of the girls than had Ho-Tu, who was perhaps overly negative in his evaluation, but it was true that there were differences between these girls and more experienced girls. The true dancing girl, who has a great aptitude for such manners, 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 they will be disappointed, or that she is poor, and then 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 90}
