Make your own free website on Tripod.com

Gor Information

Music and Instruments of Gor

Home
**READ PLEASE**
Foods
Drinks
Animals
Kurii
NonHumans
Plants
Places
Music & Instruments
Myths and Legends
Laws
Time, Money, Measurement
Etiquette
Castes
FM1-Initiates
FM2-Scribes, Builders, Physicians
Medicine
Phys Info
Phys Info 2
Phys Info 3
FM3-Warrior
Arms and Armor
FM4-Merchants, Slavers
Merchant Law
Economy and Pricing
FM5-Lower Castes
FM6-Assasins
FW
Panthers
FC
Torvaldsland
kajira/kajirus
Chores
slave names
People
Positions
Books
Dances
Rules
Ceremonies
History (fictional)
Entertainment & Holidays
Misc. Info
Links
Quotes
Kassar
Kailla
About Me

This is a page about the musical instruments and their role in gor. It was gotten from this site: http://www.geocities.com/newkataii/music.htm

Gorean Music


The music was wild, a melody of the delta of the Vosk.



la kajira

How alive and vital they seemed! Their hair was loose, in the fashion of bond-maids. Their eyes shown; their cheeks were flushed; each inch of each of them, each marvelous imbonded inch of them was incredibly alive and beautiful. How incredibly feminine they were, so living and uninhibited and delightful, so utterly fresh, so free, so spontaneous, so open in their emotions and the movements of their bodies; they now moved and laughed and walked, and stood, as women; pride was not permitted them; joy was. Only a kirtle of thin, white wool, split to the belly, stood between their beauty and the leather of their masters.
Marauders of Gor, p. 100



Now that the sport was done some Musicians filed in, taking up positions to one side. There was a czehar player, two players of the kalika, four flutists and a pair of kaska drummers.



"Do not ask the stones or the trees how to live; they cannnot tell you; they do not have tongues; do not ask the wise man how to live, for, if he knows, he will know he cannot tell you; if you would learn how to live do not ask the question; its answer is not in the question but in the answer, which is not in words; do not ask how to live, but instead, proceed to do so."
Marauders of Gor, p. 9.


Ballad of the Kaleidoscope Dance

Dedicated to luu luu
Far and wide it is sung with pride,
By those who saw, those who privileged to participate in,
A dance of colorful joy.

The crimsons, yellows, flower leaf greens,
Ambers and blues, pinks and amethysts,
Painted on her erect form, fingers of womanly beauty the brushes.

Rivers of hues, streaming round breasts,
Caressing thighs and calves, back and all
As flutes rise and movement fills alls eyes.

Rainbow in female flesh, in lightning grace,
The waves of painted arms, and swirl of extended legs,
The utter flash of movement, so dainty as to glow.

Colors from breast to palm, the capture of joy,
Pivoting in a swaying whirl, donating of happiness,
A personal gift to all, from personal delight.


The whirling blinding in color, joy giving in energy,
Paleing the skies that shine in sunset, that threaten in storm,
In a climatic burst of spectrum, all hearts festoon.




Now that the sport was done some Musicians filed in, taking up positions to one side. There was a czehar player, two players of the kalika, four flutists and a pair of kaska drummers.


Guide to Gorean Musical Instruments

Czehar, A flat, oblong box with strings played with a horn pick or plucked with the fingers; similar to a Japanese koto.

Kaska, A small hand drum.

Flute, A wind instrument with a high range, consisting of a tube with a series of finger holes or keys. Goreans keep them well polished.

Kalika, A stringed instrument; it, like the czehar, is flat-bridged and its strings are tuned with small wooden cranks; it resembles a banjo, though the sound box is hemispheric and the neck rather long. Like the czehar, it is plucked.

Notcked Stick, Played by sliding a polished tem-wood stick across its surface.

Tabor, A small drum.

Tamborine, Bits of metal on wires; gourds filled with pebbles and slave bells mounted on hand rings.

Zills, Finger cymbals.


Importance of Music in Gor
Music is intrinsic to Gorean life, from the music of the feasts and festivals, to the music accompaning the dancing of the kajirae, to the ring of the slave bells. Music even compliments and aids in the process of adding a kol'lar to a girls neck. In the following quote, notice how the music, and the rests in the music, compliment the kol'laring and even the sound of the kol'lar becomes part of the musical performance. Music is part of the ceremony, an influence on the girl and an entertainment to the company. In a way, the music not only accompanies but controls the scene.

"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 silent 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, p. 52-53