Slave Positions

These are the positions directly from the books, follow them closely.

Bara : This position is used for a variety of reasons, sometimes as punishment. She lays on her stomach, face down and turned to the left with her wrists crossed behind her back. Her ankles are crossed, as well, as if for binding.

Belly : falls to the floor face down ...forehead resting flat on the surface ...arms at her/his sides ..legs widely spread...she/he crawls to the Master/Mistress on her/his belly

Bracelets : This position is used to put on slave bracelets for chaining the slave. A common place to chain slaves is to their Master's bed. In most Gorean rooms there are rings in the walls and floor that a Master may use to attach a slave to while he goes about his business.

Bracelets-kneeling : kneels, thighs spread wide, back arched, arms extended before her/his with wrists pressed together, head held high with eyes lowered submissively

Bracelets-standing : stands with feet a shoulder width apart, holds her/his head high with eyes lowered submissively, arms out before her/him with wrists pressed together... ready for binding

Crawl : gets down on all fours, palms to elbows flat on floor...ass in the air...forehead close but not touching the floor....crawls to just an inch from Master/Mistress's feet

Gorean Bow : kneels in nadu position, she/he bends her/his body backwards, her/his head to the floor, she/he places her/his hands by her/his head, and pull-up into a back bend. (this position is very painful to maintain for longer than 5 minutes)

Hair : She stands, her feet flat on the floor, and bows gracefully at the waist, that her hair might fall forward for display, or to be shorn, seized, or used for any purpose that the Master desires.

Heel : goes to Master/Mistress and kneels behind his/her left foot... awaits further orders note: if Master/Mistress is right handed go to his/her left heel, if left handed go to his/her right

Leasha : This position is used to attach a leash. She kneels, her back to her Master, with her chin lifted and head turned to the left, offering her collar for leashing. Her wrists are behind her back, ready, if needed, to be snapped into slave bracelets.

High Leasha : Similar to lesha except down from a standing position. She stands with her back to her Master, her hands crossed at the small of the back, her feet shoulder width apart,. back and shoulders slightly arched, her breasts thrusting forward, head held high and tilted to the left with her eyes lowered in respect and submission.

Karta position of obedience : Karta named as such does not exist in the books. Some online rooms use it as a way for slaves to beg entrance into rooms. She kneels on the floor, her thighs spread widely to allow her to lay her chest upon the floor, she leans forward placing her breasts and forehead against the floor, she reaches out with her arms fully extended, palms against floor. Ankles may be crossed or uncrossed. Shows utmost respect. Requests may be made from this position.

Collaring Position : Also called "the Position of Female Submission." She kneels at the Master's feet and she leans her body back, sitting upon her heels, with her arms extended upward, crossed at the wrists, and her head beneath them lowered in supplication.

Leading Position : She stands and moves behind her Master, bending at the waist. She places her hands behind her and puts the side of her head to her Master's hip, that he might lead her easily by the hair or collar while walking.

Nadu : This is the most basic of all the positions. This is the position a pleasure slave is in most of the time. She kneels before her Master, her head held high, eyes downcast, knees spread wide open, shoulders back keeping her back straight, breasts thrust outward. Her hands lie open on her thighs, palms facing down (or upward if the slave is begging to be used).

Obedience: She goes to the floor, laying upon her stomach, face down before the Master. She turns her head and places her cheek against his feet, kissing them lightly in a gesture of love and submission.

Postrate : kneels and touches her/his forehead to the floor ... stretches her/his arms out before her/his with palms face down and fingers spread

Run : When this command is given, she runs toward her objective, taking short rapid steps, with her legs almost straight, her feet hardly leaving the floor. As she moves her back is straight, her head is turned to the left, and her arms are at her sides, her palms facing outward at a 45 degree angle to her body. Upon reaching her objective sheng and/or her Master's pleasure. in the modality of the she quadruped" is an instruction whereby the slave performs her regular duties upon hands and knees, without the benefit of the use of her hands. In this mode she may not rise to her feet and may use only her mouth and teeth to grasp and manipulate objects.

Second Obedience : the slave lowers herself onto her belly on the floor. she then inches forward, remaining low on her belly, and upon reaching the Masters feet, she licks and kisses them. Afterwards she takes the Masters foot and places it gently upon her head. She then lowers his foot to the floor and kisses it again. she may then inch back a bit , still on her belly

She-Sleen : She falls to her hands and knees, her head down on the floor, her hindquarters thrust high for viewing

Slave Lips : When this command is given, she turns her head up to the Master, her lips pursed in a sensual kissing position. She remains motionless, her lips thusly puckered, and may not move until she is granted the kiss of a Master.

Slavers Kiss : She falls to the floor upon all fours, and lowers her head to the ground, with her buttocks thrust upward and her thighs widely spread, exposing her hindquarters fully in preparation for the caress of the leather against her body.

Stand : go before the Master, eyes lowered, palms flat at her sides, arms straight, shoulders back, feet together, chest thrust forward and remain still and silent.

Submission : Kneels, she bends at the waist, placing her cheek to the floor She then takes the Master's right foot and places it upon her neck, she places her arms behind her back, crossing them at the
wrist.

Sula : This position is self explanatory. She lays on her back, her hands at her sides, palms facing upward. Her legs are spread wide open... she awaits Master's inspection

Tower : There is another variation of Nadu in which she kneels the same way, but with her palms down and her knees modestly together. This variation is referred to as Tower Slave Position and is typically reserved for underage or WHITE SILK slave girls, or slave girls who serve their Master in a non sexual way, such as a Tower Slave or female Work Slave.

Walk : she turns in a graceful pirouette She then walks, gliding across the room, her feet hardly seeming to leave the floor, her hips swaying sensually, her body erect and proud. When she reaches her objective she halts and stands, her body erect, her shoulders back, her chest thrust forward, her belly in. She turns her hip out a bit, her hands at her sides, and points one foot. Her head is up & eyes lowered.

Whip-kneeling : quickly drops to her/his knees, raises her/his hips, and places her/his head to the floor then crosses her/his arms across her/his belly.... awaits her/his punishment

Types of Slaves

Here is a listing of the types of slaves there are. If you choose to call yourself one of these, make sure you know what you are talking about and have either studied or trained in it.

bond-maid: the term for a slavegirl used in Torvaldsland

coin girl : a slavegirl who, with a coinbox and triangular flat bell chained around her neck, is sent out in the streets of a city to earn money from Masters in return for her sexual use

display slave : a slavegirl whose primary purpose is for the display of her beauty to reflect the affluence of her master; often chained in coffle with other display slaves behind the palanquin or other transport of her Master

field slave : mainly male slaves but female slaves have been known to help the cultivation of the fields and any crops risen

kettle slave or pot girl : a slavegirl whose main function  is cooking and other menial tasks; used disparagingly

luck girl : a slavegirl who acts as mascot onboard ship; her use is usually reserved for the captain of the ship, but she may be shared with the crew, usually as a disciplinary measure

paga slave : slaves in paga taverns and inns, to serve domestically and any other way the patron sees fit

pagar kajira : pleasure slave

passion slave : a slavegirl who has been bred, rather captured; specifically, one that has been bred for a particular trait, such as beauty or slave heat or the shape of her lips

pleasure slave : a slavegirl whose main function is sexual servitude to her Master

sa-fora : slavegirl 

scribe slave : These slaves are somewhat rare, since slaves are seldom taught to read or write. Since teaching takes time and money a large number of scribe slaves are High Caste free women of the scribe caste that have been captured. These slaves are used by merchants and administrators mostly. They help keep the books and records that others feel as a tiresome duty. As in the case of all slaves they are not above cooking, cleaning and warming the furs of their Masters

side-block girl : a slavegirl sold for a fixed price from the side block of a slave auction house, instead of auctioned from the main block; used disparagingly

silk girl : term used by those of Torvaldsland to denote a slavegirl from the southern cities; often used disparagingly

tavern slave : The most common type of slave. These slaves are referred to as kettle-and-mat slaves.  In other words, they do everything from scrub scullions, cooking, and serving, to warming a Masters furs at night.

Slave garments are varied, usually depending upon where you live. A slaves clothing can be anything from a cloth sack to clingy diaphanous silk. Remember that only a Free Person/Owner can give a slave garments. This is what each color generally represents, although an Owner can put any color garments on His slave that He chooses.
 

 White - Normally a slave wearing white is a virgin. She may be owned by and serving a Free Woman. A slave that has not been opened by men.

Yellow - Usually, indicates a tavern slave.

Blue - Worn by slaves that are set aside as an assistant to a Scribe, or serving in some administrative capacity. This is rare since most slaves cannot read or write.

Grey - Indicates a slave owned by the city or a municiple slave

 Serving

This is one of the biggest parts of online Gor. Slaves should make their serves as individualized as they themselves are.

Here are some basic elements that serves have.
The serve should create a picture. Be descriptive, adding touches of your personal nature, ie. eye color, hair color, silks, skin color... etc.
Modify each step for the proper drink and be sure to add individualism and style to your serve.
 
Acknowledge - Respond to make them aware that you heard (saw) the command.
Go - back away, turn and head to the kitchen
Container - choose the appropriate receptacle for the drink
Clean - wipe it clean using your hair, your garments, or a rep cloth if it's available
Fill - fill the container with the beverage
Return - return to the Master/Mistress
Kneel - nadu, if serving a FW use tower
Kiss - kiss the side of the vessel. Not the rim, do not taste.
Present - hold it high while you bend forward lowering your head
Speak - tell the Master/Mistress what you have brought.
  

Gorean Drinks

Here is the basic list

Ka-la-na - a sweet red wine made from the fruits of the kalana tree. This is a very potent dry wine.

Serving: to serve Ka-la-na, a slave needs a goblet and a bota of ka-la-na. Fill the goblet as you kneel before the Master, then offer it up to him.

Note: Kalana is only red, the only white wine is Ta-wine

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Paga - this drink is a very heady, distilled grain alcohol, sometimes served warm in a footed bowl.

Serving: A slave will need a footed bowl. Fill the footed bowl at Masters feet, then offer it up to him.

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Sul-Paga - An alcoholic beverage made from suls (similar to earth's potatoes); akin to vodka, served in a footed bowl.

Serving: A slave will need a footed bowl. Fill the footed bowl at Masters feet, then offer it up to him.

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Ta-Wine - A dry wine made from grapes, served at room temperature, in a goblet.

Serving - A slave will need a goblet and a bottle of ta-wine. Fill the goblet at Masters feet, then offer it up to him.

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Kal-Da - Made of kalana wine mixed with citrus juices and spiced, served hot (the spices are hot stinging spices, not like the mulled spices of the mulled ka-la-na).

Serving: Ladle the kal-da from the pot at the fireplace, into the pot or cup, then kneel and offer it up to the Master.

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Gorean ale or Meade - This drink is closer to honey lager than to an ale or beer, a deep golden color which is brewed from the grains of Gor and hops imported from Earth in the early years, served in a goblet.

Serving: A slave will need a goblet and a bottle of gorean ale. Fill the goblet at Masters feet, then offer it up to him.

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Slave Wine : brewed from bitter herbs, acts as a contraceptive drunk once per month. A slave would be given this to drink by her Master.

Breeding wine : a sweet beverage which counteracts the effects of slave wine, making a slave girl fertile; also called second wine, it is made from the extract of the teslik plant.
 
 

NON-ALCOHOLIC DRINKS
 
 Blackwine - this is the equivalent of earth coffee which was smuggled. This is made from the darkest beans grown in the mountains of Thentis. Very strong, almost like espresso. Serve this drink in a small cup.

Serving: The slave will need a tray, small blackwine cup, small saucers of white and yellow sugars and bosk milk. Get all utensils and fill the cup from the pot simmering on the firepit. Kneel before the Master and ask if they wish sugars and bosk milk. If they say "second" that means it is black, if they say "yes", add the sugars and bosk milk.

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Bazi Tea - A herbal beverage served hot and heavily sugared, traditionally drunk 3 tiny cups at a time in rapid succession.

Serving: A slave will need 3 tiny cups, a tray, small saucers of red and yellow sugar, full teapot. There is a meaning to each cup know it before serving.

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Chocolate : made from beans brought back on one of the early Voyages of Acquisition, this is the same as the chocolate of Earth.It is served in higher class establishments.

serving : is served in either a cup (hot), or a goblet (cold)

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Milk : can be bosk milk, verr or kaiila with a piece of ka-la-na fruit or tospit,

serving : in a goblet well chilled or at room temp by request

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Water : spring water from the mountains or from the liana vine or carpet plants from the rain forest area inland of Schendi.

serving: usually in a goblet.

Gorean Foods

Different taverns serve different things but here are the basics.

Bosk : large, shaggy, long horned bovine similar to the Earth cow; cattle; served as beef is served.

Butter : Churned from the milk of the Bosk or the Verr. 

Cheese : Pressed from the milk of the Bosk they are sharp in taste and travel well resisting molds in their hard rinds.

Dates : These come from the City of Tor.

Fish : many different varieties of fish are consumed. eg parsit - a silvery fish having brown stripes and wingfish - tiny blue saltwater fish with 4 poisonous spines on its dorsal fin; its liver is considered a delicacy in Turia.

Kes : a shrub whose salty, blue secondary roots are a main ingredient in sullage.

Kort : a rinded fruit of the Tahari; served sliced with melted cheese and nutmeg.

Larma : succulent fruit, rather like an apple; sometimes sliced and fried, and served with browned honey sauce; offering a larma, real or imagined, by a slave girl to her master is a silent plea for the girl to be raped.

Olives : are commonly from the City of Tor. (referred to as Torian Olives); also Red Olives which come from the groves of Tyros.

Peas : These are mentioned as a menu item, but not described but pease are peas.

Ram-berries : small, succulent purple berries.

Redfruit : similar in flesh and taste to apples of earth origins

Rence : a water plant, the grain is eaten and the stems harvested and pressed into paper or woven into cloth. The grain may be boiled or ground into a paste and sweetened; this paste can also be fried into a type of pancake.

Sa-Tarna : grain, specifically wheat.

Sa-Tassna : meat; food in general.

Slave porridge : a cold, unsweetened mixture of water and Sa-Tarna meal, on which slaves are fed; in Torvaldsland, it is called 'bond-maid gruel', and often mixed with pieces of chopped parsit fish.

Sorp : a shellfish, common esp. in the Vosk river, similar to an oyster; like an oyster.

Sugar : 2 varieties are commonly used, the White Sugar and the Yellow sugar.

Sul : starchy, golden brown, vine borne fruit; principal ingredient in sullage, a tuberous vegetable similar to the potato; often served sliced and fried.

Sullage : a soup made principally from suls, tur-pah, and kes, along with whatever else may be handy.

Tabuk : Swift gazelle like animals known for their sweet meat and speed, the Tabuk is generally served roasted.

Ta grapes : fruit similar to earth grapes comes from the Isle of Cos.

Tarsk : porcine animal akin to the Earth pig, having a bristly mane which runs down its spine to the base of the tail.

Tumits : a large carnivorous bird of the plains, is hunted and eaten by the Nomadic people of Gor. Traditionally hunted with bolos the sport lies in wether you or the bird gets to eat that night

Tospit : a bitter, juicy citrus fruit.

Tur-pah : an edible tree parasite with curly, red, ovate leaves; grows on the tur tree; a main ingredient in sullage.

Castes

When choosing a caste, make sure you choose one close to your personality as it will be who you are.

High Castes

Caste of Initiates: First of the High Castes. The supposed representatives of the Priest-Kings in Gorean society. They are responsible for guiding the spiritual life of Goreans through their rituals and prayers to the Priest-Kings. Some are rumored to have the ability to call down the wrath of the Priest Kings, or the dreaded "Flame Death" upon those who commit blasphemous acts or who conspire against the Priest Kings. They are recognised by their white robes, their shaven heads and faces, and their refusal to eat meat or imbibe alcohol. They are also required by their caste codes to be celibate. They tend to be learned and well-read. They are often feared and distrusted by those of the lower castes. Their caste color is White.

Caste of Scribes: Second of the High Castes. They are the scholars of Gorean society, they are the writers and the historians. In their keeping is almost all of the accounting, record-keeping, and writing upon Gor. They tend to be serious and studious, with an attention to detail and a passion for knowledge. Sub-classes of this caste include the caste of Mapmakers (explorers), the caste of Magistrates and the caste of Litigators. Their caste color is Blue.

Caste of Builders: Third of the High Castes. This caste includes architects, engineers, draftsmen, stonemasons, and many other professions which concern themselves with the creation of the physical and engineering marvels of Gor. Also among the caste of Builders are the inventors and technicians who develop such works. Their caste color is Yellow.

Caste of Physicians: Fourth of the High Castes. This is the caste of those who concern themselves with the healing arts. Surgeons, apothecaries, medical researchers and health practicioners are all members of this caste. Universally recognized as non-combatants during time of war. Their caste color is Green.

Low Castes
 
Caste of Merchants: This is a very broad caste, and contains literally hundreds of sub-castes. Those who are of this caste are concerned with the sale and trade of merchandise for a profit. There are almost as many sub-castes of the Merchant caste as there are products to be sold; a few notable ones include the caste of Slavers and the caste of Spice Merchants. The caste colors of the caste of Merchants are White and Gold.

Caste of Slavers: the sub-caste of the Merchants, one who deals in human merchandise; their caste colors are Blue and Yellow.

Caste of Moneylenders: An additional sub-caste of the Merchants; these are those who engage in the trade and speculation of money for a profit, and the only product they handle is money. They are the bankers of Gor.

Caste of Bakers: Another very broad caste, which consists of hundreds of sub-castes. Generally, those who are members of this caste are those who prepare sa-tarna, or vegetarian food, in any of a thousand forms.

Caste of Butchers: This caste, in conjunction with the caste of Bakers, is responsible for maintaining the majority of the Gorean industries involved with food service. This caste and its many sub-castes concern themselves with the acquisition and preparation of sa-tassna, all forms of edible Gorean meat.

Caste of Winemakers: This caste concern itself with the professional production of fruit based Gorean alcohol. Caste of Brewers: This caste concerns itself with the production of most grain based Gorean alcohol.

Caste of Sailors: This caste includes several dozen sub-castes, each with its own specialty. There is a sub-caste of the caste of Sailors known as the caste of Bargemen, those who propel and steer the great river barges upon the freshwater waterways of Gor.

Caste of Fishermen: A sub-caste of the caste of Sailors, they are concerned with harvesting the vast variety of Gorean aquatic life for human consumption. There are additional sub-castes of this caste, including the Castes of River Fishermen and the caste of Thassa Fishermen. The caste of Net Makers, an artisan caste, is often considered a sub-caste of the caste of Fishermen.

The Caste of Artisans: This is a very broad caste which includes hundreds of sub-castes. Since any production of hand-made goods, no matter its use, is considered by the typical Gorean to be a work of art, this caste is very broad indeed.

Caste of Pot Makers: A sub-caste of the caste of Artisans. They are involved in the production of containment vessels. Their caste colors are Brown and Green.

Caste of Saddle Makers: A sub-caste of the caste of Artisans. They produce the saddles, harness and tack used to manage all of the various riding and draft beasts of Gor. Their caste color is Tan.

Caste of Metal Workers: A sub-caste of the caste of Artisans. They are concerned with the production of most metal items fabricated upon Gor. Sub-castes of this caste include the caste of Swordmakers and the caste of Armorers, who produce the various shields and helmets in use upon Gor. Additionally, there seems to be a wide-spread sub-caste of the caste of Metal Workers which serves in a similar capacity to a blacksmith or farrier, repairing wagon wheels and shoeing Gorean draft and riding beasts. Their caste color is Steel Gray.

Caste of Cloth Workers: A sub-caste of the caste of Artisans. Concerned with the professional production of textiles for the garment industry.

Caste of Weavers: A sub-caste of the Caste of Cloth Workers, which produces articles of Gorean clothing.

Caste of Dress Makers: A sub-caste of the caste of Weavers which produces female garmenture.

Caste of Ropemakers: A sub-caste of the caste of Artisans. Produces rope, binding fiber, thread and cordage of all types.

Caste of Leather Workers: A sub-caste of the caste of Artisans. Concerned with the fabrication of various leather goods from animal hides of all types.

Caste of Poets: Oddly enough, considered to be a sub-caste not of the Entertainers, but of the caste of Artisans. This is probably because Goreans view the creation of a poem to be no different from the fabrication of any other, physical, work of art. Caste colors are Aqua and Red.

Caste of Torturers: clan of Torturers (Wagon Peoples): Not a common Gorean caste, found only among the Wagon People of the far south. Considered to be a sub-caste of the caste of Artisans. One must therefore suppose that those of the Wagon Peoples consider the application of Torture to be an art form. Their caste colors are Black and Red.

Caste of Players : This caste is made of of those who have dedicated their lives to the furtherance of the Gorean game of Kaissa. A rare caste, but one which is found and supported in almost any city. A sub-caste of the caste of Artisans, due to the fact that most Goreans consider the playing of Kaissa to be an art form. Members of this caste are granted blanket immunity to prosecution and slavery, and are highly regarded based upon their level of skill. They wear distinctive hooded robes in their caste colors. Caste colors: Checkered, Red and Yellow.

Municipal Servants: A large caste category which contains many specific sub-castes, all concerned with providing various public services to the inhabitants of a particular city or village. Their caste color is Gray.

Guardsmen: A sub-caste of the caste of Municipal Servants. This caste is responsible for patrolling the city or village streets, arresting those who violate local ordinances and laws, and insuring the general well-being of the citizenry. They are the Gorean equivalent of a police force. They have no caste colors, and typically wear uniforms provided them by the city or village in which they work, in that settlement's traditional colors. The guardsmen of Ar, for instance, wear Red and Gold, while those of Cos traditionally wear Blue, and Turian guardsmen wear Yellow.

Caste of Lamplighters: A sub-caste of the caste of Municipal Servants.This caste concerns itself with lighting the tharlarion oil lamps used to provide illumination to the city streets.

Caste of Waste Collectors: A sub-caste of the caste of Municipal Servants. This caste concerns itself with the management of collecting the assorted garbage and waste by-products stored in local waste bins and, in conjunction with the caste of Drovers, seeing that it is properly disposed of in carnariums (waste pits) located beyond the city limits.

Caste of Animal Handlers: A large caste category which contains many specific sub-castes, all concerned with the use and care of domestic animals in use upon Gor.

Caste of Tarn Keepers: A sub-caste of the caste of Animal Handlers. This caste concerns itself with the care, feeding and training of the Gorean tarn, the fierce winged saddle-bird of Gor. Caste colors: Grey and Green.

Caste of Sleen Trainers: A sub-caste of the caste of Animal Handlers, this caste concerns itself with the care, feeding and training of the Gorean Sleen, the six-legged furred hunting reptile of Gor.

Caste of Vart Trainers: This caste, a sub-caste of the caste of Animal Handlers, is exclusive to the island Ubarate of Tyros. Members of this caste concern themselves with the care, feeding and training of the Gorean vart, a bat-like creature in use upon Tyros, often trained and used as a weapon.

Caste of Drovers: A sub-caste of the caste of Animal Handlers. This caste concerns itself with the care and feeding of the various draft animals in use upon Gor, as well as the task of using wagons drawn by such creatures to ship goods from city to city.

Caste of Goat-Keepers: A sub-caste of the caste of Animal Handlers, this caste concerns itself with the care and maintenance of herds of Goats and other animals such as the woolly Gorean hurt.

Caste of Woodsmen: A large caste category which contains many specific sub-castes, all concerned with protecting and managing the vast resources of various Gorean forests claimed by a particular city or village. They are experts in various forms of woodcraft and are the forest hunters, forest marshals, and forest trackers of Gor. Caste Colors: Brown and Black.

Caste of Wood Carriers: A sub-caste of the caste of Woodsmen, this caste concerns itself with the harvesting and transportation of the trees of the Gorean forests and tree farms.

Caste of Oil Makers: This caste concerns itself with the production of various types of oil, used for purposes of lubrication and as a burnable fuel source.

Caste of Charcoal Makers: This caste concerns itself with the production of charcoal for use in Gorean forges and ovens. Caste colors: Black and Grey.

Caste of Perfumers: This caste concerns itself with the production of various types of scented perfumes, used for purposes of esthetic appeal. Often works in conjunction with the caste of Oil Makers to produce scented oils and such. Also works with the caste of Charcoal Makers and the caste of Spice Merchants to create incense.

Caste of Entertainers: A large caste category which contains many specific sub-castes, all concerned with providing entertainment to other members of Gorean society.

Caste of Singers: A sub-caste of the caste of Entertainers. Often working in conjunction with the caste of Poets, this caste concerns itself with the performance of verbal entertainments set to music. Colors: Aqua and Red.

Caste of Musicians: A sub-caste of the caste of Entertainers. Often working in conjunction with the caste of Singers, this caste concerns itself with providing and performing instrumental musical works, as well as accompaniment for those of the caste of Singers.

Caste of Rence-Growers: A slightly higher caste than the caste of Peasants, this is the caste of those who dwell in the various marshes and swamps of Gor, and who harvest Rence (a Gorean plant similar to Earth rice). They reside on great floating man-made islands amidst the marshes and are highly territorial and secretive. Known for their adoption and usage of the "Peasant Bow" in combat.

Caste of Assassins: This caste is comprised of those who kill strictly for pay; once evident throughout Gor, their existence has long been suppressed, though they still appear occasionally. They refuse to use poison to dispatch their enemies (they consider it the mark of an amateur) and are required by their caste codes to renounce all ties of friendship and family. In addition, they claim no Home Stone. Almost universally despised and feared by other castes. Their caste color is Black.

Caste of Thieves: This caste is comprised of those who make their living by stealing, robbery, picking pockets, etc.; the caste of Thieves is exclusive to the city of Port Kar. They have no recognizable caste colors, but can be indentified by a tiny, three-pronged black tattoo on their cheekbone, which is their caste marking.

Slave Names

Some ideas to help you in selecting a name. Please note that not all of these names are Gorean.

Slave Dances

These are files taken right from the books

Beauty

The girl wore Gorean dancing silk. It hung low upon her bared hips, and
fell to her ankles. It was scarlet, diaphanous. A front corner of the silk
was taken behind her and thrust, loose and draped, into the rolled silk
knotted about her hips; a back corner of the silk was drawn before her and
thrust loosely, draped, into the rolled silk at her right hip. Low on her
hips she wore a belt of small denomination, threaded, overlapping golden
coins. A veil concealed her muchly from us, it thrust into the strap of the
coined halter at her left shoulder, and into the coined belt at her right
hip. On her arms she wore numerous armlets and bracelets. On the thumb and
first finger of both her left and right hand were golden finger cymbals. On
her throat was a collar...

He clapped his hands. Immediately the girl stood beautifully, alert, before
us, her arms high, wrists outward. The musicians, to one side, stirred,
readying themselves. Their leader was a czehar player....

He looked at the girl. He clapped his hands, sharply.

There was a clear note of the finger cymbals, sharp, delicate, bright, and
the slave girl danced before us.

I regarded the coins threaded, overlapping, on her belt and halter. They
took the firelight beautifully. They glinted, but were of small worth. One
dresses such a woman in cheap coins; she is slave. Her hand moved to the
veil at her right hip. Her head was turned away, as though unwilling and
reluctant, yet knowing she must obey...

The dancer was now moving slowly to the music...

I turned to watch the dancer. She danced well. At the moment she writhed
upon the "slave pole," it fixing her in place. There is no actual pole, of
course, but sometimes it is difficult to believe there is not. The girl
imagines that a pole, slender, supple, swaying, transfixes her body,
holding her helplessly. About this imaginary pole, it constituting a
hypothetical center of gravity, she moves, undulating, swaying, sometimes
yielding to it in ecstasy, sometimes fighting it, it always holding her in
perfect place, its captive. The control achieved by the use of the "slave
pole" is remarkable. An incredible, voluptuous tension is almost
immediately generated, visible in the dancer's body, and kinetically felt
by those who watch. I heard men at the table cry out with pleasure. The
dancer's hands were at her thighs. She regarded them, angrily, and still
she moved. Her shoulder lifted and fell; her hands touched her breasts and
shoulder; her head was back, and then again she glared at the men, angrily.
Her arms were high, very high. Her hips moved, swaying. Then, the music
suddenly silent, she was absolutely still. Her left hand was at her thigh;
her right high above her head; her eyes were on her hip; frozen into a hip
sway; then there was again a bright, clear flash of finger cymbals, and the
music began again, and again she moved, helpless on the pole. Men threw
coins at her feet....

The dancer moaned, crying out, as though in agony. Still she remained
impaled upon the slave pole, its prisoner...

The hips of the dancer now moved, seemingly in isolation from the rest of
her body, though her wrists and hands, ever so slightly, moved to the
music...

Samos, with a snap of his fingers, freed the dancer from the slave pole.
She moved, turning, toward us. Before us, loosening her veil at the right
hip, she danced. Then she took it from her left shoulder, where it had been
tucked beneath the strap of her halter. With the veil loose, covering her,
holding it in her hands, she danced before us. then she regarded us,
dark-eyed, over the veil; it turned about her body, then,.. she wafted the
silk about her, immeshing her in its gossamer softness. I saw the parted
lips, the eyes wide with horror, of the kneeling, harnessed girl, through
the light, yellow veil; then the dancer had drawn it away from her, and,
turning, was again in the center of the floor....

The dancer whirled near us, then enveloped me in her veil. Within the
secrecy of the veil, binding us together, she moved her body slowly before
me, lips parted, moaning... I slowly removed her veil from her, then threw
it aside. Then with my right hand, the Tuchuk quiva in it, while still
holding her with my left, as she continued to move to the music, I, behind
her back, cut the halter she wore from her. I then thrust her from me,
before the tables, that she might better please the guests of Samos, first
slaver of Port Kar. She looked at me reproachfully, but, seeing my eyes,
turned frightened to the men, hands over her head, to please them. Never in
all this, of course, had she lost the music in her body. The men cried out,
pleased with her beauty...

All eyes were on the dark-haired dancer, the skirt of diaphanous scarlet
dancing silk low upon her hips. Her hands moved as though she might be,
starved with desire, picking flowers from a wall in a garden. One saw
almost the vines from which she plucked them, and how she held them to her
lips, and, at times, seemed to press herself against the wall which
confined her. Then she turned and, as though alone, danced her need before
the men...

I idly observed the dancer. Her eyes were on me. It seemed, in her hands,
she held ripe fruits for me, lush larma, fresh picked. Her wrists were
close together, as though confined by the links of slave bracelets. She
touched the imaginary larma to her body, caressing her swaying beauty with
it, and then, eyes piteous, held her hands forth, as though begging me to
accept the lush fruit. Men at the table clapped their hands on the wood,
and looked at me. Others smote their left shoulders. I smiled. On gor, the
female slave, desiring her master, yet sometimes fearing to speak to him,
frightened that she may be struck, has recourse upon occasion to certain
devices, the meaning of which is generally established and cuturally well
understood...to kneel before the master and put her head down and lift her
arms, offering him fruit, usually a larma, or a yellow Gorean peach, ripe
and fresh. These devices, incidentally, may be used even by a slave girl
who hates her master but whose body, trained to love, cannot endure the
absence of the masculine caress. Such girls, even with hatred, may offer
the larma, furious with themselves, yet helpless, the captive of their
slave needs, forced to beg on their knees for the touch of a harsh master,
who revels in the sport of their plight..They are slaves.

The girl now knelt before me, her body obedient still trembling, throbbing,
to the melodious, sensual command of the music.

I looked into the cupped hands, held toward me. They might have been linked
in slave bracelets. They might have held lush larma. I reached across the
table and took her in my arms, and dragged her, turning her, and threw her
on her back on the table before me. I lifted her to me, and thrust my lips
to hers, crushing her slave lips beneath mine. Her eyes shone. I held her
from me. She lifted her lips to mine. I did not permit her to touch me. I
jerked her to her feet and, half turning her, ripping her silk from her,
hurled her to the map floor, where she half lay, half crouched, one leg
beneath her, looking at me, stripped save for her collar, the brand, the
armlets, bells, the anklets, with fury. "Please us more," I told her. Her
eyes blazed. "And do not rise from the floor, Slave," I told her. The
music, which had stopped, began again.

She turned furiously, yet gracefully, extending a leg, touching an ankle,
moving her hands up her leg, looking at me over her shoulder, and then
rolled, and writhed, as though beneath the lash of master....

The dancer now lay on her back and the music was visible in her breathing,
and in small movements of her head, and hands. Her hands were small and
lovely.

She lay on the map floor, her head turned toward us. She was covered with
sweat. I snapped my fingers and her legs turned under her, and she was
kneeling, head back, dark hair on the tiles. Her hands moved, delicate,
lovely.

Slowly, if permitted, she would rise to an erect kneeling position; her
hands, as she lifted herself, extended toward us. Four times said I "No,"
each time my command forcing her head back, her body bent, to the floor,
and each time, again, to the music, she lifted her body. The fifth time I
let her rise to an erect kneeling position. The last portion of her body to
rise was her beautiful head. The collar was at her throat. Her dark eyes,
smoldering, vulnerable, reproachful, regarded me. Still did she move to the
music, which had not yet released her.

With a gesture I permitted her to rise to her feet. "Dance your body,
Slave," I told her, "to the guest of Samos."

Angrily the girl, man by man, slowly, meaningfully, danced her beauty to
each guest. They struck the tables, and cried out. More than one reached to
clutch her but each time, swiftly, she moved back...

The dancer, now behind us, continued to move before the low tables. The
eyes of the men gleamed. Before each man, for moments seemingly his alone,
she danced her beauty...

The dancer turned from the tables and, hands high over her head, approached
me. She swayed to the music before me. "You commanded me to dance my beauty
for the guests of Samos," said she, "Master. You, too, are such a guest."

I looked upon her, narrow lidded, as she strove to please me.

Then she moaned and turned away, and, as the music swirled to its maddened,
frenzied climax, she spun, whirling, in a jangle of bells and clashing
barbaric ornaments before the guests of Samos. then, as the music suddenly
stopped, she fell to the floor, helpless, vulnerable, a female slave. Her
body, under the torchlight, shone with a sheen of sweat. She gasped for
breath; her body was beautiful, her breasts lifting and falling, as she
drank deeply of the air. Her lips were parted. Now that her dance was
finished she could scarcely move. We had not been gentle with her. She
looked up at me, and lifted her hand. It was at my feet she lay.

Belt

I observed Phyllis Robertson performing the belt dance, on love furs
spread between the tables, under the eyes of the Warriors of Cernus and
the members of his staff. Beside me Ho-Tu was shoveling porridge into
his mouth with a horn spoon. The music was wild, a melody of the delta
of the Vosk. The belt dance is a dance developed and made famous by
Port Kar dancing girls. Cernus, as usual, was engaged in a game with
Caprus, and had eyes only for the board...

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....

Phyllis Robertson now lay on her back, and then her side, and then turned
and rolled, drawing up her legs, putting her hands before her face, as
though fending blows, her face a mask of pain, of fear.

The music became more wild.

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. The music
now became a moan of surrender, and the girl was on her knees, her head
down, her hands on the ankle of the Warrior, his sandal lost in the
unbound darkness of her hair, her lips to his foot... In the next phases of
the dance the girl knows herself the Warrior's, and endeavors to please
him, but he is difficult to move, and her efforts, with the music, become
ever more frenzied and desperate...

The belt dance was now moving to its climax and I turned to watch
Phyllis Robertson...

Under the torchlight Phyllis Robertson was now on her knees, the
Warrior at her side, holding her behind the small of the back. Her head
went farther back, as her hands moved on the arms of the Warrior, as
though once to press him away, and then again to draw him closer, and
her head then touched the furs, her body a cruel, helpless bow in his
hands, and then, her head down, it seemed she struggled and her body
straightened itself until she lay, save for her head and heels, on his hands
clasped behind her back, her arms extended over her head to the fur
behind her. At this point, with a clash of cymbals, both dancers remained
immobile. Then, after this instant of silence under the torches, the music
struck the final note, with a mighty and jarring clash of cymbals, and the
Warrior had lowered her to the furs and her lips, arms about his neck,
sought his with eagerness. Then, both dancers broke apart and the male
stepped back, and Phyllis now stood, alone on the furs, sweating,
breathing deeply, head down.
 

The figure of the woman, swathed in black, heavily veiled, descended the
steps of the slave wagon. Once at the foot of the stairs she stopped and
stood for a long moment. Then the musicians began, the hand-drums first, a
rhythm of heartbeat and flight.

To the music, beautifully, it seemed the frightened figure ran first here
and then there, occasionally avoiding imaginary objects or throwing up her
arms, ran as though through the crowds of a burning city-alone, yet somehow
suggesting the presence about her of hunted others. Now, in the background,
scarcely to be seen, was the figure of a warrior in scarlet cape. He, too,
in his way, though hardly seeming to move, approached, and it seemed that
wherever the girl might flee there was found the warrior. And then at last
his hand was upon her shoulder and she threw back her head and lifted her
hands and it seemed her entire body was wretchedness and despair. He turned
the figure to him and, with both hands, brushed away hood and veil.

There was a cry of delight from the crowd.

The girl's face was fixed in the dancer's stylized moan of terror, but she
was beautiful. I had seen her before, of course, as had Kamchak, but it was
startling still to see her thus in the firelight-her hair was long and
silken black, her eyes dark, the color of her skin tannish.

She seemed to plead with the warrior but he did not move. She seemed to
writhe in misery and try to escape his grip but she did not.

Then he removed his hands from her shoulders and, as the crowd cried out,
she sank in abject misery at his feet and performed the ceremony of
submission, kneeling, lowering the head and lifting and extending the arms,
wrists crossed.

The warrior then turned from her and held out one hand.

Someone from the darkness threw him, coiled, the chain and collar.

He gestured for the woman to rise and she did so and stood before him, head
lowered.

He pushed up her head and then, with a click that could be heard throughout
the enclosure, closed the collar-a Turian collar-about her throat. The
chain to which the collar was attached was a good deal longer than that of
the Sirik, containing perhaps twenty feet of length.

Then, to the music, the girl seemed to twist and turn and move away from
him, as he played out the chain, until she stood wretched some twenty feet
from him at the chain's length. She did not move then for a moment, but
stood crouched down, her hands on the chain.

I saw that Aphris and Elizabeth were watching fascinated. Kamchak, too,
would not take his eyes from the woman.

The music had stopped.

Then with a suddenness that almost made me jump and the crowd cry out with
delight the music began again but this time as a barbaric cry of rebellion
and rage and the wench from Port Kar was suddenly a chained she-larl biting
and tearing at the chain and she had cast her black robes from her and
stood savage revealed in diaphanous, swirling yellow Pleasure Silk. There
was now a frenzy and hatred in the dance, a fury even to the baring of
teeth and snarling. She turned within the collar, as the Turian collar is
designed to permit. She circled the warrior like a captive moon to his
imprisoning scarlet sun, always at the length of the chain. Then he would
take up a fist of chain, drawing her each time inches closer. At times he
would permit her to draw back again, but never to the full length of the
chain, and each time he permitted her to withdraw, it was less than the
last. The dance consists of serveral phases, depending on the general orbit
allowed the girl by the chain. Certain of these phases are very slow, in
which there is almost no movement, save perhaps the turning of a head or
the movement of a hand; others are defiant and swift; some are graceful and
pleading; each time, as the common thread, she is drawn closer to the caped
warrior. At last his fist was within the Turian collar itself and he drew
the girl, piteous and exhausted, to his lips, subduing her with his kiss,
and then her arms were about his neck and unresisting, obedient, her head
to his chest, she was lifted lightly in his arms and carried from the
firelight.

 I turned away and gave my attention to the slave writhing on the tiles
before us.

She was performing a need dance, of a type not uncommon among Gorean female
slaves. Such a dance usually proceeds in clearly defined phrases, evident
not merely in the expressions and movements of the girl but in the nature
of the accompanying music. 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 phase of 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...

The music ended with a swirl of sound and the girl, with a jangle of bells,
lay before the table of Policrates, whimpering, her hand extended. She
lifted her head. I read the unmistakable need in her eyes. She was indeed a
slave female.

Then, about me, the panther girls, circling, swaying, began a slow stalking
dance, as of hunters.

I lay in the center of the circle.

Their movements were slow, and incredibly beautiful. Then suddenly one
would cry out and thrust at me with her spear. But the spear was not thrust
into my body. Its point would stop before it had administered its wound.
Many of the blows would have been mortal. But many thrusts were only to my
eyes, or arms and legs. Every bit of me began to feel exposed, threatened.

I was their catch.

Then the dance became progressively swifter and wilder, and the feigned
blows became more frequent, and then, suddenly, with a wild cry, the
swirling throng about me stood for an instant stock still, and then with a
cry, each spear thrust down savagely toward my heart.

I cried out.

None of the spears had struck me.

The girls cast aside the spears. Then, like feeding she-panthers they knelt
about me, each one, with her hands and tongue, touching and kissing me.

I cried out with anguish.

I knew I could not long resist them.

From #8. Hunters of Gor, pg. 138, by John Norman. The Tribe of Verna's
Stalking Dance of the Panther Girls

*******************************************************

There was a long silence, of some Ihn, and then, at a nod from Hura, who
threw her long black hair back and lifted her head to the moons, the drum
began again its beat. Mira's head was down, and shaking. Her right foot was
stamping. The panther girls put down their heads. I saw their fists begin
to clench and unclench. They stood, scarcely moving, but I could sense the
movement of the drum in their blood.

The men of Tyros glanced to one another.

It was few free men who had ever looked, unbound, on the rites of panther
girls.

Hura's eyes were on the moons. She lifted her hands, fingers like claws,
and screamed her need.

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.

Suddenly the drum stopped and Hura stopped, her body bent backward, her
head back, her long black hair falling to the back of her knees.

She was breathing deeply, very deeply. Her body was covered with a sheen of
sweat.

Pole

Then, suddenly, the two men with the kaiila quirts struck her across the
back and, before she could do more than cry out, she was, too, pulled to
her feet and forward, on the two tethers.

She then stood, held by the tethers, wildly, before the pole.

Cancega pointed to the pole.

She looked at him, bewildered.

Then the quirts, again, struck her, and she cried out in pain.

Cancega again pointed to the pole.

Winyela then put her head down and took the pole in her small hands, and
kissed it, humbly.

"Yes," said Cancega, encouraging her. "Yes."

Again Winyela kissed the pole.

"Yes," said Cancega.

Winyela then heard the rattles behind her, giving her her rhythm. These
rattles were then joined by the fifing of whistles, shrill and high, formed
from the wing bones of the taloned Herlit. A small drum, too, then began to
sound. Its more accented beats, approached subtly but predictable,
instructed the helpless, lovely dancer as to the placement and timing of
the more dramatic of her demonstrations and motions.

"It is the Kaiila," chanted the men.

Winyela danced. There was dust upon her hair and on her body. On her cheeks
were the three bars of greases that marked her as the property of the
Kailla. Grease, too, had been smeared liberally upon her body. No longer
was she a shining beauty. She was now only a filthy slave, an ignoble
animal, something of no account, something worthless, obviously, but
nonetheless permitted, in the kindness of the Kaiila, a woman of another
people, to attempt to please the pole.

I smiled.

Was this not suitable? Was this not appropriate for her, a slave?

Winyela, kissing the pole, and caressing it, and moving about it, and
rubbing her body against it, under the directions of Cancega, and guided
sometimes by the tethers on her neck, continued to dance.

I whistled softly to myself.

"Ah," said Cuwignaka.

"It is the Kaiila!" chanted the men.

"I think the pole will be pleased," I said.

"I think a rock would be pleased," said Cuwignaka.

"I agree," I said.

Winyela, by the neck tethers, was pulled against the pole. She seized it,
and writhed against it, and licked at it.

"It is the Kaiila!" chanted the men.

"It is the Kaiila!" shouted Cuwignaka.

A transformation seemed suddenly to come over Winyela. This was evinced in
her dance.

"She is aroused," said Cuwignaka.

"Yes," I said.

She began, then, helplessly, to dance her servitude, her submission, her
slavery. The dance, then, came helplessly from the depths of her. The
tethers pulled her back from the pole and she reached forth for it. She
struggled to reach it, writhing. Bit by bit she was permitted to near it,
and then she embraced it. She climbed, then, upon the pole. There her
dance, on her knees, her belly and back, squirming and clutching,
continued...

Winyela now knelt on the pole and bent backwards, until her hair fell about
the wood, and then she slipped her legs down about the pole and lay back on
it, her hands holding to the pole behind her head. She reared helplessly on
the pole, and writhed upon it, almost as though she might have been chained
to it, and then, she turned about and lay on the pole, on her stomach, her
thighs gripping it, her hands pushing her body up, and away from the pole,
and then, suddenly, moving down about the trunk, bringing her head and
shoulder down. Her red hair hung about the smooth, white wood. Her lips,
again and again, pressed down upon it, in helpless kisses....

Winyela, helplessly, piteously, danced her obeisance to the great pole,
and, in this, to her master, and to men...

In her dance, of course, Winyela was understood to be dancing not only her
personal slavery, which she surely was, but, from the point of view of the
Kaiila, in the symbolism of the dance, in the medicine of the dance, that
the women of enemies were fit to be no more than the slaves of the Kaiila.
I did not doubt but what the Fleer and the Yellow Knives, and other
peoples, too, might have similar ceremonies, in which, in one way or
another, a similar profession might take place, there being danced or
enacted also by a woman of another group, perhaps even, in those cases, by
a maiden of the Kaiila. I, myself, saw the symbolism of the dance, and, I
think, so, too, did Winyela, in a pattern far deeper than that of an
ethnocentric idiosyncrasy. I saw the symbolism as being in accord with what
is certainly one of the deepest and most pervasive themes of organic
nature, that of dominance and submission. In the dance, as I chose to
understand it, Winyela danced the glory of life and the natural order; in
it she danced her submission to the might of men and the fulfillment of her
own femaleness; in it she danced her desire to be owned, to feel passion,
to give of herself, unstintingly, to surrender herself, rejoicing, to
service and love.

"It is the Kaiila!" shouted the men.

"It is the Kaiila!" shouted Cuwignaka.

Winyela was dragged back, toward the bottom of the pole on its tripods.
There she was knelt down. The two men holding her neck tethers slipped the
rawhide, between their fist and the girl's neck, under their feet, the man
on her left under his right foot, and the man on her right under his left
foot. But already Winyela, of her own accord, breathing deeply from the
exertions of her dance, and trembling, had put her head to the dirt,
humbly, before the pole. Then the tension on the two tethers was increased,
the rawhide on her neck being drawn tight under the feet of her keepers. I
do not think Winyela desired to raise her head. But now, of course, she
c�_‚_ƒ_„_..._†_‡_ˆ_‰_Š_‹_Œ_�_Ž_�_�_'_'_"_"_•_-_-_˜_™_š_›_œ_�_ž_Ÿ_ _¡_¢_£_¤_¥_¦_§_¨_©_ª_«_¬_­_®_¯_°_±_²_³_´_µ_¶_*_¸_¹_º_»_1/4_1/2_3/4_¿_À_Á_Â_Ã_Ä_Å_Æ_Ç_È_É_Ê_Ë_Ì_Í_Î_Ï_Ð_Ñ_Ò_Ó_Ô_Õ_Ö_×_Ø_Ù_Ú_Û_Ü_Ý_Þ_ß_à_á_â_ã_ä_æ_ýÿÿÿç_è_é_ê_ë_ì_í_î_ï_ð_ñ_ò_ó_ô_õ_ö_÷_ø_ù_ú_û_ü_ý_þ_ÿ_ould not have done so had she wished. It was held in place. I think this
is the way she would have wanted it. This is what she would have chosen, to
be owned, to serve, to be deprived of choice.

The men about slapped their thighs and grunted their approval. The music
stopped. The tethers were removed from Winyela's neck. She then,
tentatively, lifted her head. It seemed now she was forgotten.

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. There is no standardization for better
or worse, in Gorean slave dance. Not only can the dances differ from city
to city, but even from tavern to tavern, and from girl to girl. This is
because each girl, in her own way, brings the nature of her own body, her
own dispositions, her own sensuality and needs, her own personality, to the
dance.. For the woman, slave dance is a uniquely personal and creative art
form. Too, it provides her with a wondrous modality for deeply intimate
self-expression..

The Sa-eela, of course is not the sort of dance which could be performed by
a free woman.

Peggy now danced upon her knees, at the end of the table using the table in
the dance, thrusting her belly against it, and touching it with her hands,
and her body and lips.

Peggy, then was back from the table, on the tiles, on her back, and sides,
and knees, and then prone, and again supine, and then writhing, as though
in frustration and loneliness. Stands before the Master, hands lifted,
their backs together above her head.

T observed the dancer, closely, the striking of her small, clinched fists
on the tiles, the scratching of her fingernails at their smooth surfaces,
the turning of a hip, the flattening of a thigh, the lifting of a knee, the
turning of her head, the piteous scarrering of her hair from side to side.
She lay on her back, and whimpering, struck down in misery, stinging the
palms of her hands, bruising her small heels. She might have been in a
cell, locked away from men.

She then rolled to her stomach, and rose to her hands and knees, and head
down remainded for a moment in that posture. It is at this moment that the
music enters a different melodic phase, one less physical and frenzied, one
almost lyrical in its poignance. She crawls some feet to her left and lifts
her head. She puts out her small hand. It seems that it there encounters
some barrier, some enclosing, confining wall. She then rises to her feet.
Swiftly she hurries about, in the graceful, frightened haste of the dancer,
her hands seeming to trace the location of the obdurate barriers, those
invisible walls which seem to contain her. She then stood and faced us, and
put her head in her hands, bent over and straightened her body, her head
and hair thrown back. "I?" she seemed to ask, looking out, as though some
rude jailer might have come to the gate of her pen. But there is of couse,
no one there, and in the performance of the dance, that is clearly
understood. Then, in poignant fantasy, within the pen, she prepares herself
for the Master, seeming to thoughtfully select silks and jewelry, seeming
to apply perfume and cosmetics, seeming to be bedecked in shimmering
diaphanous slave splendor. She then crosses her wrists, and moves them, as
though they have been bound. She then extends them before her as though the
strap on them had been drawn taut. It then seems that she, head high, a
bound slave is being led on her tether, from the pen. But, at the gate, of
course, her wrists separate, and her small palms and fingers indicate for
us clearly, that she is still confined. She retreats to the center of the
pen, falls to her knees, covers her head with her hands, and weeps.

The next phase of the music begins at this point.

She looks up. There is a sound in the corridor, beyond the gate. She leaps
up, and backs against the wall of her pen. This time, it seems, truly,
there are men there, that they have come for her. She puts her head up; She
turns away; she feigns disdane. Then it seems as she, startled, looks
about, on the floor of the pen, calling to them, lifting her head, holding
out her hand piteously to them. She pleads to be considered.

It then seems, as she shrinks back, lifting herself to the plams of her
hands, frightened, that the gate to her pen has been opened. She kneels
swiftly in the position of the pleasure slave. Obviously she fears her rude
jailers. Twice it seems she is struck with a whip. Then she again assumes
the postion of a pleasure slave. She nods her head. She understands well
what is expected of her. She is to perform well on the tiles of the
feasting hall. "Yes Masters!" it seems she says. But how little do her
jailers, perhaps only common and boorish fellows, understand that this is
precisely what she too, deeply and desperately desires to do. How long she
has waited, in cruel frustration, unfulfilled and lonely, in her cell for
just such a moment, that precious opportunity in which she a mere slave,
may be permitted to display and present herself for consideration of her
master. How can they understand the poignance, and significance of this
moment for her? She is to have an opportunity to present herself before the
master! Who knows if she in such a large house, one with such cells and
jailers, may ever again be given such an opportunity.

It then seems that she is hauled to her feet and that her wrists, tightly
and cruelly, are bound behind her back. Her body and head are then bent far
over. Her head twists. It seems a man's hand is in her hair. Not as a high
slave, clothed in jewelries and shimmering silks, tastefully bound, is she
to be conducted to the site of her performance, some aristocratic banquet;
rather, cruelly bound and nude, she is to be thrown before masters at a
drunken feast. She then with small, hurried steps, bent over, described a
wide circle on the tiles. Then, it seemed, she was thrown to her knees, and
then her side, before us. Her hands were still held as though tightly bound
behind her. She looked at us. We were of course, the "masters," before whom
she was to perform. She rose to her feet. She twisted as though her hands
were being untied. She then flexed her legs and lifted her hands over her
head, as she hand in the beginning, back to back.

The final phases of the Sa-eela then begin.

In these phases the girl, in all her unshielded beauty, and naked except
for the collar of slavery, attempts to arouse the interest of her master.

Peggy's body gleamed with sweat. She had small feet, and lovely high
arches. Her body was superb.

She had now entered into the display phase of the Sa-eela. In this portion
of the dance the girl calls attention to the various aspects of her beauty,
from the swirling sheen of her cascading hair, to her ankles, from her
small feet to her tiny, fine fingers.

The music now, pounding and throbbing, mounted headily tword the climax of
the Sa-eela.

In these, the final portions of the Sa-eela, the slave in effect, puts
herself at the mercy of the master. She has already presented before him,
almost in a delectable enumeration, many of the more external and rhythmic
aspects of her beauty. She has displayed herself hitherto before him rather
as an object in which, hopefully, he might take an interest. A woman may do
this, of course from many motives; such as fear or her desire to be
purchased by an affluent master, only one of which might be her authentic,
poignant desire to be found pleasing by him. for her own sake. In such
displays there can be, though there often is not, a subtle psychological
distinction, detectable in the behavior, between the merchandise, so to
speak, and the girl who is displaying herself as merchandise. In the first
case, where no true distinction exists, which is the authentic case, the
girl in effect says, "I am for sale. Buy me, and love me!" In the second
case, the girl in effect says, "Here is a fine slave. Are you not
interested in her?" In the second case of couse, the Gorean is interested,
though the girl may not understand this clearly, in not only the
merchandise but the girl who is displaying the merchandise. She might truly
be terrified if she understood that it was herself he intended to own, and
in fact, was going to own, she the exhibitor of the merchandise as well as
she, the merchandise exhibited. Goreans, as I have mentioned, are
interested in owning the whole woman, in all her sweetness, depth,
complexity and individualism.

The girl now, in all her helplessness, in all her desperation in all her
sensual splendor, was dancing not aspects or attributes of her beauty
before her master, but was dancing her own passions, her own needs and
desires, her own piteous needful, beautiful, intimate and personal self
before him. There were no restraints, no reservations, no compromises, no
divisions or distinctions. Her needs were as exposed as her collared body.
She danced herself before her master.

The music swirled to its climax and Peggy, turning, flung herself to her
back on the tiles. As the music struck its last, rousing note, she arched
her back, and flexed her legs, and looked back at him, her right arm
extended piteously back toward him.

At a languid gesture from Ibn Saran, Alyena lifted herself from the scarlet
tiles, gracefully turning from her side to her knees, and then, head back,
hair to the floor, slowly, inch by melodic protesting inch, arms before her
body, lifted herself to a kneeling position, erect, the last bit of her to
rise being her head, with a swirl of her blond, loose hair. Then, looking
to Ibn Saran, suddenly she bent forward, as though impulsively, as though
she could not help herself, and, hands on the tiles, head down, kissed the
tiles at his feet, before his slippers. She looked up at him. I gathered
she wanted to be bought by him. He was her "rich man." He lifted his finger
for her to rise. Her right leg thrust forth, brazenly, and then, from her
kneeling position, slowly, hands above her head, moving, high, she rose
swaying to her feet.

"May I strip your slave?" inquired Ibn Saran.

"Of course," I said.

He nodded to the girl. To the music she unhooked her slave halter of yellow
silk and, as though contemptuously, discarded it. I saw she was excited to
see his interest in her. Only too obviously was she interested in him
making a purchase of her. The churning of milk and the pounding of grain
were not for lovely Alyena. That was for ugly girls and free women. She was
too desirable, too beautiful, to be set to such labors...

Alyena, now, slowly, disengaged the dancing silk from her hips, yet held
it, moving it on and about her body, by her hands, taunting the reclining,
languid, heavy-lidded Ibn Saran, to whom she knew, at his slightest
gesture, she must bare herself.

He regarded her veil work; she was skillful; he was a connoisseur of slave
girls...

At a signal from Ibn Saran, Alyena drew the veil about her body, and around
it, and, with one small hand, threw it aside. She stood boldly before him,
arms lifted, head to the side, right leg flexed. The veil, floating, wafted
away, a dozen feet from her, and gently, ever so gently, settled to the
tiles. Then, to the new melodic line, she danced...

Alyena now to a swirl of music spun before us, swept helpless with it,
bangles clashing, to its climax.

Then she stopped, marvelously, motionlessly, as the music was silent, her
head back, her arms high, her body covered with sweat, and then, to the
last swirl of the barbaric melody, fell to the floor at the feet of Ibn
Saran. I noted the light hair on her forearms. She gasped for breath.

Alyena, now, slowly, disengaged the dancing silk from her hips, yet held
it, moving it on and about her body, by her hands, taunting the reclining,
languid, heavy-lidded Ibn Saran, to whom she knew, at his slightest
gesture, she must bare herself. He regarded her veil work; she was
skillful; he was a connoisseur of slave girls... At a signal from Ibn
Saran, Alyena drew the veil about her body, and around it, and, with one
small hand, threw it aside. She stood boldly before him, arms lifted, head
to the side, right leg flexed. The veil, floating, wafted away, a dozen
feet from her, and gently, ever so gently, settled to the tiles. Then, to
the new melodic line, she danced...

Alyena now to a swirl of music spun before us, swept helpless with it,
bangles clashing, to its climax. Then she stopped, marvelously,
motionlessly, as the music was silent, her head back, her arms high, her
body covered with sweat, and then, to the last swirl of the barbaric
melody, fell to the floor at the feet of Ibn Saran. I noted the light hair
on her forearms. She gasped for breath.

The same dance, performed on IRC, might look more like this:

The Slave with her head held high and her eyes downcast moves gracefuly
into the open space. A rush of exhiliration comes over her as she prepares
to dance for Master.

The Slave begins in a slow and very seductive manner running her tongue
across her moist lips, as she releases her beautiful red silks from her
shoulders and they fall easily below her. She then stands before him
showing him all she has to offer.

The Slave then begins to dance as she runs her soft hands over her large
rounded breasts teasingly uplifting them, then twirls away. She raises her
arms high above her head, hands turning at the wrist. Her hips grind as she
thrusts her large breasts at him. The Slave begins to twirl faster and
faster like the wind to the unknown music as she sees the Master getting
very excited. She looks into his eyes as he gazes into hers until he knows
her need to please him.

Tether

I jerked the tether on her throat.

"This is a tether," I said, "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 that you are a slave."

"Are you now commanding me to dance before you?" she asked.

"Yes," I said, "you dance now as a commanded slave. And if I am not well
pleased have no fear but what you will be well beaten, if not slain."

"Yes, Master," she said.

I then struck my hands together, and, terrified, the girl danced.

She had not been taught the tether dance, one of the most beautiful of the
slave dances of Gor, but she improvised well. Indeed, it was hard to
believe that she had not had training. I am inclined to believe that the
need dances and display dances of the human female may be, at least in
their rudiments, instinctual. I suspect there is a genetic disposition in
the woman toward this type of behavior and that certain of the movements,
closely associated with luring behavior and love movements, may also be
genetically based. One reason for supposing this to be the case is that a
girl's growth in certain forms of dance skills does not follow a normal
learning curve. It is rather like the human being's ability to acquire
speech, which also does not follow a normal learning curve. It seems
reasonably likely that facility in acquiring speech, which would have
enormous survival value, has been selected for. Similarly, a woman's
marvelous adaptability to erotic dance may possibly have been selected for.
At any rate, whatever the truth may be in these matters, feminine women,
perhaps to the horror of their more masculine sisters, seem to take
naturally to the beauties of erotic dance. At the very least, perhaps
inexplicably, they are marvelously good at it. These genetic dispositions,
of course, if they exist, can be culturally suppressed.

I watched the girl dance. She was quite good...

"Now you are becoming a woman," I told her. She knelt on one knee, her
right; her left leg was flexed; the tether was taken, in a turn, about her
left thigh; her hands, too, were on her left thigh; her head was down, but
turned toward me; her lip trembled. "Continue to dance, Slave," I told her.

"Yes, Master," she said.

I watched her, and marveled. It is interesting to note that such movements,
those of slave dances, despite the inhibitions of rigid cultures, may occur
in a girl's sleep, and may even occur, almost spontaneously, when she,
nude, alone, passes before a mirror in her bedroom. How shocked she may be
to suddenly see her body move as that of a slave. Could it have been she
who so moved? Later, perhaps to her surprise, she finds herself standing
before the mirror. She is naked, and alone. Then, perhaps scarcely
understanding what is occurring within her, she sees the girl in the mirror
has begun to dance. The movements are not dissimilar perhaps to those of
women who, thousands of years ago, danced in firelit caves before their
masters. Then, knowing well that it is she herself who is the dancer, she
dances brazenly, boldly, before the mirror. Well does she present her bared
beauty before it in the movements, the attitudes and postures of the female
slave. Then perhaps she falls to the rug, scratching at it, pressing her
belly to it. "I want a Master," she whispers.

I now stood up. My arms were folded.

The girl now was upon her knees at my feet, the tether on her neck slung
back behind her to the slave stake. Still in her dance, she began to lick
and kiss at my body.

I then took her by the upper arms and held her, half lifted from her knees,
before me.

"Please do not whip me," she begged.

I then, by the upper arms, dragged her to the side of the slave stake. I
put her on her knees there. She looked up at me. "You danced well as a
slave," I said.

Tile

"I hear from the chain master," said Samos, "that you have learned the tile dance creditably."

The tiny cups and glasses shook on the tray. "I am pleased," she said, "if Krobus should think
so."

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.

6 Thongs

"You may dance, Slave," I told her.

It was to be the dance of the six thongs.

She slipped the silk from her and knelt before the great table and chair,
between the other tables, dropping her head. She wore five pieces of metal,
her collar and locked rings on her wrists and ankles. Slave bells were
attached to the collar and the rings. She lifted her head, and regarded me.
The musicians, to one side, began to play. Six of my men, each with a
length of binding fiber, approached her. She held her arms down, and a bit
to the sides. The ends of six lengths of binding fiber, like slave snares,
were fastened on her, one for each wrist and ankle, and two about her
waist; the men, then, each holding the free end of a length of fiber, stood
about her, some six or eight feet from her, three on a side. She was thus
imprisoned among them, each holding a thong that bound her....

Sandra then, luxuriously, catlike, like a woman awakening, stretched her
arms.

There was laughter.

It was as though she did not know herself bound.

When she went to draw her arms back to her body there was just the briefest
instant in which she could not do so, and she frowned, looked annoyed,
puzzled, and then was permitted to move as she wished.

I laughed.

She was superb.

Then, still kneeling, she raised her hand, head back, insolently to her
hair, to remove from it one of the ornate pins, its head carved from the
horn of kailiauk, that bound it.

Again a thong, this time that on her right wrist, prohibited, but only for
an instant, the movement, but inches from her hair.

She frowned. There was laughter.

At last, sometimes immediately permitted, sometimes not, she had removed
the pins from her hair. Her hair was beautiful, rich, long and black. As
she knelt, it fell back to her ankles.

Then, with her hands, she lifted the hair again back over her head, and
then, suddenly, her hands, by the thongs were pulled apart and her hair
fell again loose and rich over her body.

Now, angrily, struggling, she fought to lift her hair again but the thongs,
holding apart her hands, did not permit her to do so. She fought them. The
thongs would permit her only to wear her hair loosely.

Then, as though in terror and fury, as though she now first understood
herself in the snares of a slave, she leaped to her feet, fighting, to the
music, the thongs.

The dancing girls of Port Kar, I told myself, are the best on all Gor.

Dark and golden, shimmering, crying out, stamping, she danced, her thonged
beauty incandescent in the light of the torches and the frenzy of the slave
bells.

She turned and twisted and leaped, and sometimes seemed almost free, but
was always, by the dark thongs, held complete prisoner. Sometimes she would
rush upon one man or another, but the others would not permit her to reach
him, keeping her always beautiful female slave snared in her web of thongs.
She writhed and cried out, trying to force the thongs from her body, but
could not do so.

At last, bit by bit, as her fear and terror mounted, the men, fist by fist,
took up the slack in the thongs that tethered her, until suddenly, they
swiftly bound her hand and foot and lifted her over their heads, captured
female slave, displaying her bound arched body to the tables.

There were cries of pleasure from the tables, and much striking of the
right fist on the left shoulder.

She had been truly superb.

Then the men carried her before my talbe and held her bound before me. "A
slave," said one.

"Yes," cried the girl, "slave!"

The music finished with a clash.

The applause and cires were wild and loud.

I was much pleased.

The following dance was performed in Tribesmen of Gor (page 8). It includes
elements of the Veil Dance with finger cymbals as well as a pole dance and
other activities. It has been edited here to more specifically illustrate
the Gorean Veil Dance.

The girl wore Gorean dancing silk. It hung low upon her bared hips, and
fell to her ankles. It was scarlet, diaphanous. A front corner of the silk
was taken behind her and thrust, loose and draped, into the rolled silk
knotted about her hips; a back corner of the silk was drawn before her and
thrust loosely, draped, into the rolled silk at her right hip. Low on her
hips she wore a belt of small denomination, threaded, overlapping golden
coins. A veil concealed her muchly from us, it thrust into the strap of the
coined halter at her left shoulder, and into the coined belt at her right
hip. On her arms she wore numerous armlets and bracelets. On the thumb and
first finger of both her left and right hand were golden finger cymbals. On
her throat was a collar...

He clapped his hands. Immediately the girl stood beautifully, alert, before
us, her arms high, wrists outward. The musicians, to one side, stirred,
readying themselves. Their leader was a czehar player.

He looked at the girl. He clapped his hands, sharply. There was a clear
note of the finger cymbals, sharp, delicate, bright, and the slave girl
danced before us. I regarded the coins threaded, overlapping, on her belt
and halter. They took the firelight beautifully. They glinted, but were of
small worth. One dresses such a woman in cheap coins; she is slave. Her
hand moved to the veil at her right hip. Her head was turned away, as
though unwilling and reluctant, yet knowing she must obey...

The dancer was now moving slowly to the music. I turned to watch the
dancer. She danced well. At the moment she writhed upon the "slave pole,"
it fixing her in place. There is no actual pole, of course, but sometimes
it is difficult to believe there is not. The girl imagines that a pole,
slender, supple, swaying, transfixes her body, holding her helplessly.
About this imaginary pole, it constituting a hypothetical center of
gravity, she moves, undulating, swaying, sometimes yielding to it in
ecstasy, sometimes fighting it, it always holding her in perfect place, its
captive. The control achieved by the use of the "slave pole" is remarkable.
An incredible, voluptuous tension is almost immediately generated, visible
in the dancer's body, and kinetically felt by those who watch. I heard men
at the table cry out with pleasure. The dancer's hands were at her thighs.
She regarded them, angrily, and still she moved. Her shoulder lifted and
fell; her hands touched her breasts and shoulder; her head was back, and
then again she glared at the men, angrily. Her arms were high, very high.
Her hips moved, swaying. Then, the music suddenly silent, she was
absolutely still. Her left hand was at her thigh; her right high above her
head; her eyes were on her hip; frozen into a hip sway; then there was
again a bright, clear flash of finger cymbals, and the music began again,
and again she moved, helpless on the pole. Men threw coins at her feet....

The dancer moaned, crying out, as though in agony. Still she remained
impaled upon the slave pole, its prisoner... The hips of the dancer now
moved, seemingly in isolation from the rest of her body, though her wrists
and hands, ever so slightly, moved to the music... Samos, with a snap of
his fingers, freed the dancer from the slave pole. She moved, turning,
toward us. Before us, loosening her veil at the right hip, she danced. Then
she took it from her left shoulder, where it had been tucked beneath the
strap of her halter. With the veil loose, covering her, holding it in her
hands, she danced before us. then she regarded us, dark-eyed, over the
veil; it turned about her body, then,.. she wafted the silk about her,
immeshing her in its gossamer softness. I saw the parted lips, the eyes
wide with horror, of the kneeling, harnessed girl, through the light,
yellow veil; then the dancer had drawn it away from her, and, turning, was
again in the center of the floor.... The dancer whirled near us, then
enveloped me in her veil. Within the secrecy of the veil, binding us
together, she moved her body slowly before me, lips parted, moaning... I
slowly removed her veil from her, then threw it aside. Then with my right
hand, the Tuchuk quiva in it, while still holding her with my left, as she
continued to move to the music, I, behind her back, cut the halter she wore
from her. I then thrust her from me, before the tables, that she might
better please the guests of Samos, first slaver of Port Kar. She looked at
me reproachfully, but, seeing my eyes, turned frightened to the men, hands
over her head, to please them. Never in all this, of course, had she lost
the music in her body. The men cried out, pleased with her beauty...All
eyes were on the dark-haired dancer, the skirt of diaphanous scarlet
dancing silk low upon her hips. Her hands moved as though she might be,
starved with desire, picking flowers from a wall in a garden. One saw
almost the vines from which she plucked them, and how she held them to her
lips, and, at times, seemed to press herself against the wall which
confined her. Then she turned and, as though alone, danced her need before
the men...

Whip

From the novel Rogue of Gor (page 191) the dance is performed:

A new dancer came forth upon the floor and began, a tall brute near her
with the leather, to perform a 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. The whip dance continued before us.. The whip dance was now
approaching its climax...

I turned my attention to the dancer on the floor. She lay now on her back,
one knee lifted, her arms at her sides, palms down, before the brute with
his whip, who towered over her. Her head, too, was turned to the side. Then
she turned her head to face the brute who tyrannized her. She looked deeply
into his eyes. then, delicately, in a graceful gesture, she turned her
hands, putting their backs to the floor, exposing her palms, and the soft
flesh of her palms, to him, indicating her surrender, her submission, her
vulnerability and her readiness. There was applause, the striking of the
left shoulder, from the tables.

Gorean Dictionary