Winyela, helplessly, piteously, danced her obesiance 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 Kailla, 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 Kailla. 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 Kailla. 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 Kailla!" shouted the men.
"It is the Kailla!" shouted Cuwignaka.
Winyela was dragged back, toward the bottom of the pole on its tripods. There she was knelt down. The two men holding her neck tethers slipped the rawhide, between their fist and the girl's neck, under their feet, the man on her left under his right foot, and the man on her right under his left foot. But already Winyela, of her own accord, breathing deeply from the exertions of her dance, and trembling, had put her head to the dirt, humbly, before the pole. Then the tension on the two tethers was increased, the rawhide on her neck being drawn tight under the feet of her keepers. I do not think Winyela desired to raise her head. But now, of course, she could not have done so had she wished. It was held in place. I think this is the way she would have wanted it. This is what she would have chosen, to be owned, to serve, to be deprived of choice.
The tethers were removed from Winyela's neck. She then, tentatively, lifted her head. It seemed now she was forgotten.
{Blood Brothers of Gor, page 39}
{Kajira of Gor, page 141}
Elinor's Dance | Flute | Hope of Tina | "I Am For Sale" | Leash | Love | Need | Newly Collared Slave | Oar Dance/Torvaldsland | Panther Girls | Placatory | Pole | Rencer's | Sa-eela | Seduction | Ship & Larl |
Submission | Tether | Thong | Tile | Training to Dance | Tuka's Dance |
Veil | Virgin | Whip
