Dance of the
Newly Collared Slave
That night, at a great feast, he displays the captive,
now suitably attired by his sisters in the diaphanous, scarlet dancing
silks of Gor. Bells have been strapped to her ankles, and she is bound
in slave bracelets. Proudly, he presents her to his parents, his friends
and warrior comrades. 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 slight 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 is 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 Slave, and, head down,
she proffers the wine to him. He drinks. There is another general shout
of commendation and well wishing, and the feast begins, 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, Page 52-53
like another, the dance of the virgin, demonstrtaes that all slaves may
dance, must dance at the command of the free. However it is a dance that
is not often danced, for once done it can never be redone. Unlike the need
dance, or the thong, or chain dances tis one is special.
In Tyros it
is suggested that this dance be reserved for the time when a slave is taken
from a Palace collar into a Personal collar. drifter knows when or if her
time comes to be chosen for such an honor she will surely dance some form
of this dance for her new Master.