Types of dances
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Belt Dance
"The belt dance is a dance developed and made famous by Port Kar dancing girls." "The belt dance is performed with a Warrior. She now writhed on the furs at his feet, moving as though being struck with a whip. A white silken cord had been knotted about her waist; in this cord was thrust a narrow rectangle of white silk, perhaps about two feet long...." "The dance receives its name from the fact that the girl's head is not suppose to rise above the Warrior's belt, but only purists concern themselves with such niceties; wherever the dance is performed, however, it is imperative that the girl never rise to her feet."
"Assassin of Gor" p. 185
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Chain Dance A girl is chained to a stake by a warrior with the chain interwoven from the ko-lar of her neck through the wrists and down to her ankle cuffs by ten feet of play between the slave and the driven stake. The slave dances to show her submission and joy of being a slave. The chain wraps around her and she writhes and fights at first, and fights wildly, but she eventually she submits because of her desire and the fire within her belly. In the end, she shows her joy at feeling the confinement of the chain around her slaveheart.
"Nomads of Gor" p. 159
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Dance of the 6 Thongs The girl has 6 leather thongs attached to her body: (ankles,wrists, belly, and neck) She dances as a girl who is captured. She will show her defiance and bewilderment at not being able to move freely, the dance growing more frenzied until she is subdued by the Masters that hold her. The girl is thenpresented to one Master, who asks her if she is slave, to which she will proudly say that she is.
"Raiders of Gor" p. 228
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Love Dance of a Newly Collared Slave "The Love Dance of the Newly Collared Slave Girl has many variations, in the different citied of Gor, but the common theme is that the girl dances her joy that she will soon lie in the arms of a strong master."
"Raiders of Gor Book" p. 115
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Need Dance "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 beome 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 invited 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 satisy her. She must strive to be pleasing. If she is not good enough she may be chained, unfilfilled, 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 fourth phaseof 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..."
"Rogue of Gor" p. 185
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Placatory Dance "There are many forms of placatory dances which are performed by female slaves. Some of these tend to have rather fixed forms, sanctioned by custom and tradition, such as the stately 'Contrition Dance' of Turia. Some sort of placatory dance is usually taught to the girl in slave training." "Most placatory dances, however, are not fixed-form dances, but are 'free' dances, in which the slave, exquisitely alert to the nuances of the situation, the particular master, the nature of his displeasure, the gravity of her offense, and such, improvises, to reassure him of the authenticity of her contrition and the genuineness of her desire to do better."
"Dancer of Gor" p. 332
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Pole Dance The slave will attempt to arouse and entice the pole or "Master" with erotic movements that involve her touching and caressing "Him" (the pole), beckoning her use by "Him". This dance can be done either by securing her to the pole or she may remain free from the pole, swirling around in frantic and heated movements.
"Blood Brothers of Gor" p. 39
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Sa-eela "The Sa-eela is one of the most moving, deeply rhythmic and erotic of the slaves dances of Gor. It belongs, generally to the genre of dances commonly known as the Lure Dances of the Love-Starved Slave Girl. The common theme of the genre, of course, is the attempt on the part of a neglected slave to call herself to the attention of the master. The Sa-eela, usually performed in the nude, as though by a low slave, and by a girl freed of all impediments except her collar, is one of the most powerful of slave dances of Gor. It is done rather differently in different cities but the variations practiced in the river towns and, generally in the Vosk basin, are in my opinion, among the finest."
"Guardsman of Gor" p. 259
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Seduction Dance The name of the dance is fairly self-explanitory, in this dance the slave tries to seduce a Master, perhpas even to get him to buy her.
"Tribesmen of Gor" p. 101
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Serving (Scarf or Veil) Dance Performed using ribbons or scarves as a form of enticement for the Master. The girl will offer to serve the Master in a most exciting manner. She typically wears a costume of scarves or uses a ribbon to arouse both herself and the Master. Falling to her knees, she may offer a lustful serve of ka-la-na.
"Tribesman of Gor" p. 13
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Stalking Dance of the Panther girls "The girls then, following her, began to dance..." "How starved must be the lonely, hating panther women of the forests, so gross is their hostility, so fierce their hatred, and yet need, of men. They twisted, screaming now, clawing at the moons. I would scarcely have guessed at the primitive hungers evident in each movement of those barbaric, feline bodies. They would be masters of men. Proud, magnificent creatures. And yet by biology, by their beauty, by their aroused inwardness, could not, in fact, own but only, in their true fulfillment, belong, be taken, be conquered...." "The drum was now very heady, swift. The dance of the panther girls became more wild, more frenzied. Vicious, sinuous, clawing, lithe, these savage beauties, in their skins and gold, with their knives, their light spears, weapons darting, danced. They were terrible, and beautiful, in the streaming, flooding light of the looming, primitive moons of perilous Gor. I could hear their cries of rage and need, hear their heels striking in the earth, their hands slapping at their thighs. I saw the teeth of some, white, bared, at the moons, their eyes blazing. The hair of all was unbound. Several had already, oblivious of the presence of the men of Tyros, torn away their skins to the waist, others completely. On some I could hear the movement of the necklaces of sleen teeth tied about their necks, the shivering and ringing of slender golden bangles on their tanned ankles. In their dance they danced among the staked-out bodies of the men of Marlenus, and about the great Ubar himself. Their weapons leapt at the bound men, but never did the blows fall..." "The dance would soon strike its climax. It could continue little longer. The women would go mad with their need to strike and rape."
"Hunters of Gor" p. 197
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Submission Dance Performed for the girl's true Master, each dance is different and unique, as is each Freeperson. It can be done in many ways, from the kajira allowing her hands to roam her own body in throbbing lust for her Master, to the girl writhing in desire and submitting at His feet.
"Dancer of Gor" p. 190
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Tether Dance "I jerked the tether at her throat.'This is a tether,' Isaid. 'It is to be well incorporated in your dance. You are a tethered slave. Do not forget it. You may fight the tether, you may love it. It may confine your body, you may use it to caress your body, an invitation to your master, a surrogate symbol of his domination of you. You need not dance always on your feet. A woman can dance beautifully on her knees,moving as little as a hand, or on her back, or belly or side. In all things do not forget you are a slave.'"
"Explorers of Gor" p. 360
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Tile Dance "The tile dance is commonly performed on red tiles, usually beneath the slave ring of the master's couch. The girl performs the dance on her back, her stomach and sides. Usually her neck is chained to the slave ring. The dance signifies the restlessness, the misery, of a love-starved slave girl. It is a premise of the dance that the girl moves and twists, and squirms, in her need, as if she is completely alone, as if her need is known only to herself; then, supposedly, the master surprises her, and she attempts to suppress the helplessness and torment of her needs; then, failing this, surrendering her pride in its final shred, she writhes openly, piteously, before him, begging him to deign to touch her. Needless to say, the entire dance is observed by the master, and this, in fact, of course, is known to both the dancer and her audience, the master. The tile dance, for simple psychological and behavioral reasons, having to do with the submission context and the motions of the body, can piteously arouse even a captured, cold free woman; in the case of a slave, of course, it can make her scream and sob with need."
"Explorers of Gor" p. 13
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Tuchuk slave love dance The rather savage and wild dance of the slaves of the Wagon People done with much savagery and seduction.
"Nomads of Gor Book" p. 98
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Whip Dance "...In the whip dance, though there are various versions of it, depending on the locality, the girl is almost never struck with the whip, unless, of course, she does not perform well. When the whip is cracked, however, the girl will commonly react as though she has been struck. this, conjoined with the music, and her beauty, and the obvious symbolism of her beauty beneath total male descipline, can be extremely, powerfully erotic. In an elegant, civilized context, one of beauty and music, it makes clear and bespeaks the raw and essential primitives of the ancient, genetic, biological sexual realtionship of men and women.... "
"Rogue of Gor" p. 191