Need Dance - Rogue of Gor pg 185 - 186

* this dance usually consists of five phases
* 1st phase of this dance beginning with a girl's indifference to her situation
* 2nd phase will show her fears and restlessness as her desires are becoming more apparent to herself and yet she still
struggles against them ... towards the end of this phase she will begin to have doubts in herself as to whether she is worthy
enough to please the men around her and this will be made clear in her dance
* 3rd phase shows her acceptance of her desires and her willingness to please the Masters before her ... the girl will posture
and present herself to the Masters with an almost "ladylike" charm and finesse ... during this phase she is not yet taken by a
Master even though she presents herself to them as a most willing slave and again she has questions herself
* 4th phase the girl becomes wanton in her need and desire, writhing on the floor and opening herself wide for the Masters so
they might see the visible evidence of her need to be used by them
* 5th and final stage of the dance the girl continues to beg to be used ... her actions show that she knows deep within her that
she is a slave and her only desire is to be pleasing ... she will reach out to the Master's and beg Him to touch her and make her
a slave completely

"The naked slave girl, in her bells and jewels, writhed on the scarlet tiles of the floor before us. 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 become 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 invites 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 satisfy her. She must strive to be pleasing. If she is not good enough she may be chained, unfulfilled, 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. 'Master!' she whimpered. 'Please, Master.' Policrates glanced at her. He had scarcely paid her attention in the dance."

Rogue of Gor, pp.185-188