Some dances have specific names and others are combinations of them all... the dance of a slave girl can be compared to no other type of dance.
"Only too obviously was this a trained dancer, and yet, too, there was far more than training involved. Too, I speak not of such relatively insignificant matters as the mere excellence of her figure for slave dance, as suitable and fitting as it might be for such an art form, for women with many figures can be superb in slave dance, or that she must possess a great natural talent for such a mode of _expression, but something much deeper. In the nature of her dance I saw more than training, her figure, and her talent. Within this woman, revealing itself in the dance, in its rhythm, its joy, its spontaneity, its wonders, were untold depths of femaleness, a deep and radical femininity, unabashed and unapologetic, a rejoicing in her sex, a respect of it, a love of it, an acceptance of it and a celebration of it, a wanting of it, and of what she was, a woman, a slave, in all of its marvellousness."
~Magicians of Gor, pages 53-54~
The dance of the slave girl is the releasing of her inner soul. The dances themselves tell stories and differ with each slave girl, as John Norman states Himself, there is no "standardization."
This art from, the Gorean dance, is a pure essence of womanhood, the slave girl releasing her spirit, her soul......in happiness...in rage....in torment...her body moves with and becomes one with her dance.
When a girl dances, she should enjoy it, feel it in her belly, take her creativiely beyond and over the edge.
With the telling of a story; weather it be capture, submission let your being move with cause...
"…slave dance, that form of dance, in its thousands of variations, in which a female may excitingly and beautifully, marvellously and fulfillingly, express the depths and profoundities of her nature. In such dance the woman moves as a female, and shows herself as a female, in all her excitingness and beauty. It is no wonder that women love such dance, in which dance they are so desirable and beautiful, in which dance they feel so free, so sexual, so much a slave."
---Magicians of Gor, pg. 44
Music is not even necessary for slave dancing. It can be performed by a girl who only hears music within her own mind. Dancing also need not be more than simply beautiful movement. A kajira was advised to: "Move as seductively and beautifully as you can, and as a slave, swaying, crawling, kneeling, rolling, supine, prone, begging, pleading, piteous, caressing, kissing, licking, rubbing against them." (Mercenaries of Gor, p.60). Floor movements are a type of dance where the girl cannot rise higher than a man's knees. "In few modalities is a woman's slavery made clearer or more manifest than when she must perform floor movement, than when she must, in effect, dance before men, never rising higher than her knees." (Kajira of Gor, p.288) Floor movements include such activities as turning, twisting, rolling, crawling, sometimes on hands and knees, sometimes on the stomach, sometimes kneeling, sitting, or lying, or half sitting, half lying, or half kneeling, half lying. The Turian knee walk is a specific type of floor movement that is not really described in the books. From its name we can surmise it involves much movement on your knees. A dance can also be extremely formal and structured, with clearly defined phases and a specific story that must be told.
"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, p.91) Some say that the dancing girls of Port Kar are the best dancers on Gor. A number of other cities make that same claim as well. It is obvious though that all cities produce excellent dancers and they are a valuable commodity.
It usually takes much training and practice for a kajira to become a good dancer. Every dancer hopes to one day be good enough "…to be permitted to dance before a Ubar." (Guardsman of Gor, p.234). Good dancers possess a myriad of body types. There is no figure that is any better for dance than another. Sometimes, it may take a certain master to bring out the dancer in a girl. Like all other skills, obviously a girl needs to consistently practice to become a good dancer. Kajirae should get a lot of practice in front of an audience. "It is good for them to get the practice, hearing and seeing men respond them. That is the way to learn what truly pleases men. In the end, I say, it is men who teach women to dance." (Assassin of Gor, p.91)