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Slave Dances


There is no or little standardization in slave dance. A dance can differ from city to city, paga tavern to paga tavern, and even slave to slave. Each girl, in her own way, brings to a dance her own personality, disposition, emotions, sensuality, and needs. A girl's body type will also affect her style and method of dance.

The location of the dance, the time of day, and the number and type of observers will also affect the dance. A girl may even dance the same dance differently each time she performs it. For most dances, there are only certain basics that the dance will share in common with other dances of the same name.

Dances Mentioned Though Not Described

Brand Dance: This is a dance that is mentioned in the books but is never described. From its name, we can speculate that it is a story dance about a girl being branded. The beginning phases of the dance may concern the girl's fears about being branded. The middle phases will depict the actual branding and the latter phases will show the girl accepting and admiring her new brand.

Hate/Rebellion Dances: These dances are not described much, though it is obvious they are meant to show certain emotions. They allow a girl to show hatred and rebellion toward their Master but that is not how they will end. Each of these dances concludes with the ultimate surrender of the girl to her Master as his love slave. Like the command, "show rebellion," these can be cruel dances to make a girl dance.

Mat Dance: This is another dance that is not described much in the books. It is performed on a slave mat and consists of many floor movements.

Dances Specific to Cities or Cultures

Belt Dance:

This dance was developed and made famous by Port Kar dancing girls. It is performed on love furs with a warrior. It receives its name from the basic that the girl is not supposed to rise above the warrior's belt. It is very important that the girl does not rise to her feet. This dance will likely include many floor movements, as the girl is not on her feet.

This dance has phases, and, in the later phases of this dance, the girl acknowledges that she is the warrior's and tries to please him. He will remain aloof from her and her efforts will get more desperate. At the climax of the dance, the girl will be on her knees. The warrior will be at her side, holding her behind the small of the back. The kajira will bend backwards until her head touches the furs and then the warrior will lower her to the floor. They will end the dance in a kiss.

Ianda Dance: On the island of Ianda, located north of Anango and close to the shore, girls learn how to dance using their hands and beads to form certain figures which have symbolic meaning. Some of these figures include a free woman, whip, yielding collared slave, thieving slave, terrified girl summoned before her master, girl meeting one with the plague, obedience and joy. It would be similar in some ways to the sign language of the Red Savages, though beads are also used in this dance. Few girls outside of Ianda would know this form of dance.

Rence Girl Dances: The Rencer Caste lives in the swamps and marshes of the Vosk Delta. The dances of rence girls are unique on Gor. There is some savagery in their dances but also stately and stylized aspects. There are movements reminiscent of the casting of nets, poling of marsh craft, weaving rence or hunting gants.

Their dances all eventually become the dances of women who desire men. Even the shiest of girls will become quite wanton. In the Rencer community, it signals the end of childhood when a girl first dances. The dances are usually done in a circle at their occasional festivals. Only single women are permitted to dance and after the dance, they will pair off with the single men.

Dance of the Tuchuk Slave Girl: This dance is done by the slave girls of the Tuchuks, a tribe of the Wagon Peoples. Little description of this dance is given unfortunately. Most of these dances are performed at night, openly by firelight.

Dances More Generally Known

Chain Dance: This seems to be a long dance with numerous phases. It begins with a robed and veiled woman, scared and nervous, trying to flee from some unknown pursuer. A warrior will appear and will continually block her escape. Eventually, he will capture her, and will remove her robes and veil. She will plead desperately with him but to no avail. She will then kneel and submit to him.

The warrior will collar and chain her, using a Turian collar and a chain of about twenty feet. The girl will go out to the limit of the chain and will start to dance. At times, the warrior will pull the chain toward him and then release the chain, though he will decrease the length of the chain. He will do this multiple times, each time signifying a different phase of the dance.

These phases will show many different styles and emotions, from a savage dance filled with hatred to graceful and pleading. Other phases will be very slow, consisting of almost no movement except for the turning of a head or the movement of a hand. Still other phases will be defiant and swift, stately, simple, proud, and even piteous. The dance finally ends when all of the chain is gone. The warrior will then kiss the slave and carry her off.

Love Dance: There are many variations of this dance and most cities have their own version. The basic theme of this dance is that a girl dances with joy that she will soon lie in the arms of her strong Master.

Need Dance: This dance usually proceeds in five clearly defined phases. The phases are denoted by the music and the movements and expressions of the kajira. During the first phase, the girl will dance, feigning indifference to the presence of the men around her. In the second phase, as she has not yet been raped, she must subtly show her distress, uneasiness, and restlessness. She is beginning to become aware of her sexual urges and fights against them.

At the conclusion of this phase, it must be evident that she has deep sexual needs and that she fears not being attractive enough to the men. During the third phase, in an almost ladylike fashion, she will admit defeat in her attempt to conceal her sexuality. She will then acknowledge before the men that she has sexual needs, inviting the men to claim her. She will also still show her fear over not being acceptable to the men.

In the fourth phase, also called the Heat of the Collared She-Sleen, she will shamelessly dance her need and beg for sexual satisfaction. The final phase is also known as the Heat of the Slave Girl. This is a very dramatic phase where the girl clearly admits that she is a slave and pleads for her rape. The girl will rarely be on her feet during this phase. Obviously, if she is pleasing, she will be raped once the dance is completed.

Netted Slave Girl Dance: This dance will begin with a number of slaves writhing in a net on the floor. There will be some girls dressed as slave hunters though they can clearly be seen as slaves. The "hunters" use light staffs, pretending to prod and torment the girls in the nets. Much skilled staff work may be involved. Near the finish of the dance, the "captives" will be proudly displayed. Then, upon the snap of a slave whip, the "hunters" will strip and join the captives. A larger net will then be used to cover all of the slaves.

Placatory Dances: There are many varieties of these dances. The purpose of these dances is for a girl to beg forgiveness and ease the anger of her Master. She will endeavor to show her sincerity and desire to improve. Every trained slave learns some form of placatory dance during their training.

Some of these dances have fixed forms, sanctioned by custom and tradition, such as the stately Contrition Dance of Turia. Most of these dances are "free" dances in which the slave improvises the moves. The dancer will adjust the dance to conform to the nature of the offense and the nature of her Master.

Pole Dance: There are many versions of this dance, some using a real pole while others use an imaginary pole. The dance may be done with one or more girls. They may be tied with bonds or not. The girl will dance around the pole, kissing, caressing, and licking the pole. If it is done without a pole, the girl will dance as if it does exist. A girl can achieve remarkable control around this imaginary pole. This dance can help show a girl how to address herself to a standing Master. He can thus be treated like the pole.

Sa-eela Dance: This is one of a number of dances that belongs to a group of dances called the Lure Dances of the Love-Starved Slave Girl. The common theme of this genre is the attempt of a neglected slave to get the attention of her Master. The Sa-eela is commonly done in the nude, with only a collar on. It is a moving, deeply rhythmic, and erotic dance, one of the most powerful of all the slave dances. It is performed differently in different cities.

It consists of a number of different phases. During the display phase, a girl will call attention to all of the aspects of her beauty such as her hair, her legs, feet, hands, and more. It is basically a phase categorizing a girl's physical assets. In the final phases of the dance, the girl tries to arouse the interest of her Master eventually placing herself at the mercy of her Master. This is not the type of dance that would be performed in the presence of Free Women.

Six Thongs: In this dance, the girl wears a collar and locked rings on her wrists and ankles. The collar and rings are belled. Six men will then each fasten a length of binding fiber to her. One length will be fastened to the rings and two will be fastened to her waist. The men then stand by her side, three to a side, and about six to eight feet away.

They each are holding an end of the binding fiber. The girl will then begin the dance as if she is unfettered. She will eventually begin moving and feel a minor restriction. She will frown, looking annoyed and puzzled at first. Her hair will also begin the dance pinned up. During the dance she will remove the pin and her hair will fall down.

She will then find that she is not permitted to place her hair back with the pins. The girl eventually understands her plight and will try to resist. She may charge one of the men but the others will hold her back. Finally, the men take up all of the slack, bind the girl, lift her over their heads and display her bound body around the room.

Tether Dance: This dance is similar in some ways to the dance of the six thongs and the pole dance. The girl is tethered to a slave stake. She may then either fight the tether or love it. The tether may confine her body or caress it. The girl may also incorporate the slave stake in her dance so it becomes similar to a pole dance as well.

Tile Dance: This dance is usually performed on red tiles beneath the slave ring of a Master's couch. The dancer is commonly chained to the slave ring. The dance is performed on the girl's back, stomach and sides. It signifies the restlessness and misery of a love-starved kajira. A premise of the dance is that the girl believes she is alone. She will move and squirm in her need. The Master will then supposedly surprise her and she will try to hide the torment of her need. She will fail at this and eventually surrenders her pride. She will finally writhe openly, begging him to touch her, to rape her.

Virgin Dance: There are three basic categories of virgin dances. First, they refer to the types of dances fitting for a virgin. These dances would rarely be seen in a tavern. Second, they refer to any dance that displays a virgin who is soon to lose her virginity. Third, and most commonly, it refers to a "role" dance where a girl dances as if she was a virgin but knows she is soon to be ravished. This type of dance is rarely done by an actual virgin. It is not a story dance but is more an emotional or attitudinal piece.

Whip Dance: There are numerous types of the whip dance, some with and some without music. In some forms, it is not even really a dance. A naked girl simply moves seductively around a room trying to entice the men present. The men may tell the girl to dance in a certain way. If she is not found pleasing, she will be whipped.

When a man is sufficiently aroused, he will take the girl to his mat for his pleasure. After that, the girl will return to dancing for the rest of the men and it will continue until all the men are either pleased or decide to quit. In another form, an equal number of slaves dances for a group of men. The girls strip themselves to the strokes of the whips and then dance toward the men.

A man who does want the girl dancing toward him will whip her back. He will also whip the girls who do not dance toward him until they do. It is also common for the slaves to circle the group five times so the men can inspect them. When a slave is sufficiently pleasing, she will stop dancing and then go to the man's furs.




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