The following is a brief overview of Gorean dance including quotes for help in composing a dance for OL, the dances of Free Persons and the nature of dance. Quotes on actual dances and a lesson on such will be noted below.

Dance

Slave Dance

dance lesson

thoughts on contests

actual dances

dance quotes

terminology and articles

Free Persons and Dance

Free Men dance quotes

Free Women dance quotes

Coming Soon: Dances of the kajirae from #Koroban_Kaverns

Slave Dance

Every woman, of glandular normality, has an occasional desire, often frightening her, to writhe lasciviously, naked, before a powerful male. Should she miserably fall to slavery the passion dance of a nude slave girl will surely be among the least of what is commanded of her.

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.

{Marauders of Gor}

A Few Basics on Dance:

~ A slave's every muscle must be in tune to the dance, each muscle loose and willing.. often it is noted how a girl can move without seeming to move.. holding still, every nuance of a body in control, seemingly driven on even when holding back.

~ The dance itself may be approached at by many different angles, one that this girl has found helpful is just approaching it like a serve. Do you analyze the serve over and over or does it start to come naturally? This is how dance is. It IS a serve. Be natural in it, show yourself in the dance like you show yourself in the serve

~ Read the books! Slaves have found many an inspiration by just reading the books. There are so many dances in the scrolls of Gor, some very basic and some very detailed. Learn from them, read on the slave's emotions, read on the slave's movements.

~ Remember there are simple parts of a dance, just like a story, book, thesis, manuel or such. The dance should have a starting point--a warm up prehaps or a preperation. The dancer needs to get to where s/he is dancing. The dance begins. The dance reaches a climax. The dance has an ending. Remember to also do a follow through, just like doing a position or a serve, it is not ended just because you say it is over, there will be reaction to react to, a thank you perhaps to say, or even just a retraction to where the dancer was before s/he began the dance.

~ Keep the dance in format. If you use actions to describe what you do, then keep doing so. It is bad format to switch back and forth between describing your actions as if outside of yourself in one post and then as if you do it right then and there in another. Try to keep descriptive pots in another format. for example:

* slave sways slowly to the music, swirling upon the sands
~ ~ the music resounds with the thundering of drums ~ ~
* slave rises high, a body unfolding as if to reach to the moons
~ ~ lightning strikes, illuminating the skies

Note that in the above post the dancer does the actions while she uses another format to describe outside forces, rather than this:

* slave the girl sways slowly to the music, swirling upon the sands
* slave the music resounds with the thundering of drums ~ ~
* slave rises high, a body unfolding as if to reach to the moons
* slave lightning strikes, illuminating the skies

The latter reads a bit more confusing in that it seems the dancer is doing an action but it does not read like a sentence. Remember that flow is a good indicator as to how easily the audience can read the dance. See a little further below to some of the main focuses of the dance. The first example is the better example as it puts some format into the dance.

~ Practice!

~ The dance can be directed with even a simple clap of the hands or a snap of the fingers, gathering a girl to dance closer to the Master commanding.

~ The dance can also be ended with a clap of the hands or a halting of the music. Most dances in the books show the slave completing the dance when it pleases the Masters, hence it is not of her own choice. Here a slave may find a contradiction with OL Gor, finding herself stopping the dance. This girl once did a veil dance for over an hour waiting to be stopped.

~ It is noted in 'Tribesmen of Gor' that the dance, once the Master commands it finished, is only half over, the rest is for the girl to please those who might use her after. It may not be only one, it may be several, it may be in alcove, it may be in public before all.

~ It is noted too that not always is the girl so willing and wanting to dance. Often the girl may fight her need, fight her basic instincts and try to deny her feelings, yet almost always finally succumbing to this drive and begging for the Master's touch.

~ There are two 'types' of dance, both RL or OL: prepared/choreographed dance or free-form/impromptu dance. Let's discuss these a bit further with comparison.

~ There are advantages to both impromptu and pre-written dance. Pre-written, coreographed persay, dances leave little room for typos, cutoffs and mispellings; pre-written dances also allow the dancer more time to think on the wording, access a thesaurus, etc... With pre-written, interesting concepts like color, sounds, etc.. can be utilized. The dance that is pre-written can be heartfelt and thorough and well thought upon. Impromptu on the other hand is on impulse. This form of dance is great for interaction; the girl can dance and respond to the Master's desires, wishes, commands. The girl can move with the snap of a finger and dance with her basic primal instincts, can beg to stop dancing, can beg the Master and respond to His words. You may see this difference in this one's dances she has linked to below.

"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 "erotic dance" which, on Earth, and there are forms of dance in "erotic 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 commercial teasing. They are, at any rate, not the sort of dance, or the "danse-du-venre" sort, so pleasing to strongmen, which a slave on Gor, fearing the whip, must often learn to perform.

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Thoughts on Contests
(& Performing in General):

When looking at the dance's overall presentation there are often a few aspects an audience, judge, etc may look upon. The following is a brief list of general criteria a dance may be critiqued upon and should be considered for any dance a slave may perform to just present a more pleasing dance.

¤ creativity: a dancers needs display some imagination and creativity; not all dances need to be about heat and touching of one's person; remember there will be Free Women oftimes in the audience too; the dancer should use his/her surroundings and involve the audience; remember too that the dancer need not 'go with the flow' and perform the type of dance that everybody expects or usually does, it is alright to make the dance stand out from others

¤ cut-offs: most chats have programs that let the chatter know where his/her posts cut off, and as a slave OL the dancer should have enough practice with serving to know how long a post can be--Remember quantity does NOT neccessarily mean quality

¤ skills: each dancer has his/her own skill; the dancer should play up their skills, the dancer should also display his/her knowledge of Gor--using positions, customs, beliefs and techniques found in the books is suggested

¤ accuracy: many dances are timed and should be, but they are not graded on how many posts a dancer gets out in a certain time frame; the dance is often graded on ingenuity and a willingness to please, so be careful with wording and spelling; also KEEP TO THE TOPIC; improper spelling reflects negatively and draws attention to one's dance--negative attention; as in serves the dancer should use the same care as if serving

¤ flow: here is where it is determined if the dancer's posts flow together easily: does the end of last post flow into the beginning of next post; the dancer should do 'possible feats' NOT super-human acts; a common rule of thumb: be true to yourself!



There are also the more detailed aspects of the dance to consider.

? Are colors allowed to be used? Remember that not everyone is overly fond of the use of colors; but too, remember, that colors may be able to add some life to your dance if used moderately.

? Is music allowed to be added and sent to the judges and other participants as well? The right type of music can add a suggestive conotation to your dance, but make sure that it is possible that all of your audience is able to hear the music.

? Is the dance to be impromptu or to be written before hand? This allows for much variation to your dance. See above for some helpful hints on impromptu. Remember too to be yourself and write on what you truly are feeling.

? Are there levels to consider.. beginning .. advanced.. etc.? Be honest and compete in the level you feel you should be in.

? What is the locale of the dance .. a camp.. a paga house .. a home? You should incorporate some description of where you are, remember that the atmosphere can lend a major aspect to the dance.

? Do they have a place for contestants to register? If so, try and register beforehand. Even if there is not registration required it is good to visit the home you will be competing in and let it be known that you will be competing. Remember common courtesy is a plus!

? Is there a deadline for registration? If so, make the deadline. Many competitions will give penalties for those registering late to a contest. Also, do not be afraid to enter a contest you just heard about if it is allowed, even if you will be late--better late than never.

? Do as you are informed .. do not go unprepared and beg to enter at the last minute unless that is acceptable by the rules preset by the Presentors. ( remember that if it is to be prewritten and pre-registered others have followed the rules, and have most likely worked very hard on their dance. If pre-written dances are asked for.. it is to save time and no exceptions will most likely be made)

? Ask yourself what pre written means to you? Do not submit something with typos and cutoffs... Do the best that you possibly can.. Have someone go over it with you.. Also, please note.. each server is different, what consitutes the space allowance on one server may be different on another.

? Another special note: when winning or losing, remember that you represent yourself, your collar, the Home that allows You to compete. It is NOT becoming or pleasing to act with arrogance nor is it becoming or pleasing to storm out and cry if you didnt win. Dignity, pride and grace always win.

? Overall, remember, any competition is to be fun and an experience. Make the most of it, enjoy the experience, learn from the experience and support your fellow competitors.

? Make any competition you enter a learning experience, seek feedback from the Judges if possible and learn from that.

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Slave Dances

..customarily the chain dance, the whip dance, the love dance of the newly collared slave girl, the brand dance, and so on, are performed openly by firelight in the evening, for the delight of any who care to watch. {Nomads of Gor}

For now these links take you to s`haila{KK}'s site, until they are copied here.



belt dance: a dance developed and made famous by Port Kar dancing girls; the slave performs the dance with a warrior; receives its name from the fact that the girl’s head is not supposed to rise above the Warrior’s belt, it is imperative that the girl never rise to her feet (Assassin of Gor)see the belt dance

chain dance: a dance of chains done to a drum rhythm (Nomads of Gor) see the chain dance

collar dance: noted but not described; perhaps like the 'new collar dance'?

dance for the master: see the dance for the master

dance of beauty: see the dance of beauty

dance of larl hunters: a slave, joined by two or three others, in a file, dances the stalking of the beast, the confrontation, and the kill (Assassin of Gor)

dance of rence girl: the dances of rence girls are 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; at the end of the dance, if the slave is desired, a Man may place a net about her to take her off for His pleasure (Raiders of Gor)

dance of the six thongs: see the dance of the six thongs

love dances: savage love dances of the Kassars, the Paravaci, the Kataii, the Tuchuks, danced to barbaric music (Nomads of Gor)

need dance: see the need dance

new collar dance: the slave dances her joy at the thought that she will soon be in the arms of a strong master (Assassin of Gor) see the new collar dance

panther girl dance: see the dance of the panther girl

pole dance: see the the pole dance

sa-eela: one of the most moving, deeply rhythmic and erotic of the slave dances of Gor; it belongs to the genre of dances commonly known as 'the lure dances of the love-starved slave girl'; its main theme is the neglected slave calling herself to the attention of the mastersee the sa-eela

slave dance: see the the dance of the slave

tether dance: see the the tether dance

tile dance: the tile dance is commonly performed on red tiles, usually beneath the slave ring of the master's couch; the slave performs the dance on her back, her stomach and sides; chained to the slave ring; signifies the restlessness, the misery, of a love-starved slave girl see the the tile dance

veil dance: see the the veil dance

whip dance: see the the whip dance

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More Quotes on Slave Dance

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 speak of reality and savagery, of ferocity, and beauty and barbarism, and of the fundamental meaningfulness of the male/female relationship, that 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.
{Dancer of Gor, page 193}

"A girl was dancing within," he said. "It was a paga tavern."
"You did not let me enter," I said.
"Such girls often dance in little more than jewels, or chains," He said. "It is better, I think, too, that free women not see how they look at men and bow they move before them."
"I see," I said. "And how do men find such women?"
"It is in the best interests of the woman," said be, "that the men find her pleasing, very pleasing."
"I see," I said, shuddering. I wondered if I could be pleasing to a man in that way, dancing before him, and then, later, if he had paid my owner my price, in an alcove. Most girls in such a place, I had heard from Susan, but generally not the dancers, came merely with the price of the drink itself. I supposed that if one were a dancer, and was then serving in an alcove, an additional price having been paid for one's use, one would have to strive to be particularly good. Gorean men, I was sure, would see to it that they got their money's worth.
{Kajira of Gor}

"Slaves can enter taverns, can they not?" I asked.
"If on an errand, or in the company of, a free person," he said.
"There seems little concern for their sensibilities," I observed.
"Sometimes," said he, "they are even taken to such places by their masters, that they may see the paga slaves, and the dancers, and thus learn from them how to serve even more deliciously and lasciviously in the privacy of their own quarters."
{Kajira of Gor}

"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}

"Are you familiar with floor movements, Tiffany?" he asked.
"A little, Master," I said. "I saw some once in a slaver's house." This had been in the house of Kliomenes, when I had been taken on a tour there long ago by Drusus Rancius. I had been free then, of course. Now I was as much a slave as the girls I had seen there at the time.
"I am going to signal to the musicians, Tiffany," said Aemilianus. "When they begin to play, you may begin your performance."
"Yes, Master," I whispered. When I had seen such movements in the house of Kuomenes I had never dreamed that they might, horrifyingly enough, one day be required of me. In few modalities is a woman's slavery made clcarer or more manifest than when she must perform floor movements, than when she must, in effect, dance before men, never rising higher than her knees.

Then the music began.
Almost as soon as I had begun to dance I saw Emily tear back her slave silk, exposing her breasts to Aemilianus, and to kiss him. He held her against him with his left arm about her body and held her two hands, their wrists crossed, in his grip, captured, accoss his body. He held her in this fashion, helpless. And both, then, were watching me. Once I had been Tiffany Collins. I now writhed, a Gorean slave, at the feet of men. I do not know how long the music lasted, perhaps only about four or five Ehn. Then, swirling and climaxing, it suddenly ended. I lay, gasping and sweating, on my belly on the tiles. I looked up. I hoped that I had pleased the masters.
"Very good, Tiffany," said Aemilianus.
{Kajira of Gor}

'And in his city,' said the girl, her eyes bright, 'he put bells upon my ankles and dressed me in dancing silk. I had no choice you understand. i must do as he wished. And when I could dance no more he took me in his arms and like a beast forced me to serve his pleasure.'
{Outlaw of Gor}

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 decadence set by the musicians danced before us... When Kron had tired of watching the dancers he clappped his hands twice and with a discordant jangle of their ankle bells they fled from the room.
{Outlaw of Gor, Ch 24}

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 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 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, Ch 6}

I myself, in spite of my predicament, found myself being awestruck, again and again, by the beauty, the performances, the dances of the girls who were, lot by lot, brought before us; how beautiful are women, how fantastic, how tormenting, how superb, how marvelous, how excruciatingly maddening, and beautiful and marvelous they are.
{Assassin of Gor, Ch 19}

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 illconcealed 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.
{Assassin of Gor, Ch 19}

Suddenly she stepped back, threw back her head, thrust one leg to the side, and lifted her arms. Then, eyes closed, not moving, except the heel of the right foot, which beat the rhythm, she began to hum a Tuchuk slave song; on the second measure, her hands came to her hips and she opened her eyes, looking at me; on the third measure, her body began to move and, to the melody, she began to sway toward me; when I reached for her she swept back, and danced, her hands at the side of her head, fingers snapping with the melody.
Then she stopped.
{Assassin of Gor, Ch 5}

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 fibre 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 Slave, and, head down, she proffers the wine to him. He drinks. There is another general shout of commendation and well wishing, and the feast begins, 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, Ch 6}

The dance consists of several phases, depending on the general orbit allowed the girl by the chain. Certain of these phases are very slow, in which there is almost no movement, save perhaps the turning of a head or the movement of a hand; others ate defiant and swift; some are graceful and pleading; some stately, some simple; some proud, some piteous; but each time, as the common thread, she is drawn closer to the caped warrior. At last his fist was within the Turian collar itself and he drew the girl, piteous and exhausted, to his lips, subduing her with his kiss, and then her arms were about his neck and unresisting, obedient, her head to his chest, she was lifted lightly in his arms and carried from the firelight.
{Nomads of Gor}

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Terminology and Articles Used for Slave Dance

cymbals: like the cymbals of earth, worn on the fingers of the dancer (Assassin of Gor)

dance pit: either a circle or square, normally somewhere center of the room or near the fires (when outdoors) where slaves dance; it may be highlighted by a hanging lamp; almost always filled with sand (Assassin of Gor)

dancing bells: any assortment of bells used for dancing, may be worn on ankles, wrists, or even on chains wrapped about the belly

"In the cities," I said, "only Pleasure Slaves are so belled, and then customarily for the dance." {Nomads of Gor}

knee walk, Turian: mentioned, but not described except that it is sometimes used by slave dancers. (Magicians of Gor, page 342) moan of terror: a dancer's 'face' where the slave's face gets fixed in the dancer's stylized moan of terror, still keeping her beautiful, but seeming to pale and appear as if pleading, the slave seeming to writhe and yet stay unmoving, paralyzed to the spot (Nomads of Gor)

pleasure silk: sheer clingy form of silk worn only by slave girls; wraps like a pareau with a disrobing loop at the left shoulder (Captive of Gor, page 322); it is often noted that dancers wear pleasure silk, often of the color red or yellow (Nomads of Gor, etal.)

Port Kar slaves: the slaves of Port Kar tend to be superb, feline, vicious, startling; they are famed as dancers throughout all the cities of Gor (Nomads of Gor)

slave dance: any of the sensous and lascivious dances performed by slavegirls to entertain their masters; designed to display the sexual heat of the performer, and invite her use by Masters; dances include the Belt Dance, Chain Dance, Dance of the 6 Thongs, Sa-eela, Tile Dance (performed on red tiles), Dance of the Tuchuk Slave Girl, Tether Dance and many others; 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. (Dancer of Gor, page 193)

slave pole: imaginary pole that 'transfixes' a dancing girl by which she is 'held' during her dance. (Tribesmen of Gor, page 11)

training room: a training room for slaves, often containing a shallow pit of sand for dancing, furs, chests, cosmetics, chains, retention devices, mats, Musicians, parallel bars on the walls for excercises, love furs, sometimes even containing a one-way mirror so that the Free could observe igcognito; often a room for slaves to learn dance in (Assassin of Gor)

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Free Men Dance Quotes

Near the pit of sand several slave girls, dancers, in Pleasure Silk were kneeling back on their heels and clapping their hands 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 of Port Karl 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. A moment later another guard leaped into the pit of sand and, to the amusement of the girls, began a dance of tart hunters, joined by two or three others, in a file, dancing the stalking of the beast, the confrontation, the kill.
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, Ch 17}

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 oars. The men sang. The Forkbeard then, to the delight of those on the bank, who cheered him, as the serpent edged into the dock, addressed 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}

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Free Women Dance Quotes

Many women are free, legally, whether it is in their best interests 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 oh her plainly as the collar on her neck and the mark on her thigh. {Dancer of Gor}

Moreover, even if she is never enslaved, she is familiar with the duties of slaves and what is expected of them; if she should be enslaved she will know, on the whole, what is expected of her, what is permitted her and what is not; moreover, the Gorean girl is literally educated, fortunately or not, to the notion that it is of great importance to know how to please men; accordingly, even girls who will be free companions, and never slaves, learn the preparation and serving of exotic dishes, the arts of walking, and standing and being beautiful, the care of a man’s equipment, the love dances of their city, and so on. {Nomads of Gor}

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In dedication to
Master Saxus

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