On the wall, in the trough of the breach, we saw four men rolling a heavy stone toward the field side of the wall. A flute girl was parodying, or accompanying, their efforts on the flute, the instrument seeming to strain with them, and then, when they rolled the stone down, she played a skirl of descending notes on the flute, and, spinning about, danced away. The men laughed.
There was suddenly near us, startling us, another skirl of notes on a flute, the common double flute.
A flute girl, come apparently from the wall side of the Wall Road, danced tauntingly near us, to our right, and, with the flue, while playing, gestured toward the wall, as though encouraging us to join the others in their labor. I, and Marcus, I am sure, were angry. Not only had we been started by the sudden intrusive noise, which the girl must have understood would have been the case, but we resented the insinuation that we might be such as would of our own will join the work on the wall.
Did she think we were of Ar, that we were of the conquered, the pacified, the conpredictable, the tamed? She was an exciting brunet, in a short tunic of diaphanous silk. She was slender, and was probably kept on a carefully supervised diet by her master or trainer. Her dark eyes shone with amusement. She pranced before us, playing. She waved the flute again towards the wall.
We regarded her.
She again gestured, playing, toward the wall.
I had little doubt that she assumed from our appearance in this area that we were of Ar.
We did not move.
A gesture of annoyance crossed her lovely features. She played more determinedly, as though we might not understand her intent.
Still we did not move.
Then, angrily, she spun about, dancing, to return to her former post near the wall side of the Wall Road. She was attractive, even insolently so, at the moment, in the diaphanous silk.
Magicians of Gor, Page 120-121
Hate/Rebellion dances:
These dances are not described much though it is obvious they are meant to show certain emotions. They allow a girl to show hatred and rebellion toward their master but that is not how they will end. Each of these dances conclude with the ultimate surrender of the girl to her Master as his love slave. Like the command, "show rebellion," these can be cruel dances to make a girl dance
Landa Dance
On the island of landa, located north of Anango and close to the shore, girls learn how to dance using their hands and beads to form certain figures which have symbolic meaning. Some of these figures include a Free Woman, whip, yielding collared slave, thieving slave, terrified girl summoned before her Master, girl meeting one with the plague, obedience and joy. It would be similar in some ways to the sign language of the Red Savages though beads are also used in this dance. Few girls outside of landa whould know this form of dance.
Leash Dance
Performed on the leash, sensuously and wantonly. Similar to the Tether dances. The shaking of the leash once firmly begins the dance.
Mat Dance
This is another dance that is not described much in the books. It is performed on a slave mat and consists of many floor movements.
Netted Slave Dance
This dance will begin with a number of slaves writhing in a net on the floor. There will be some girls dressed as slave hunters though they can clearly be seen as slaves. The "hunters" use light staffs, pretending to prod and torment the girls in the nets. Much skilled staff work may be involved. Near the finish of the dance, the "captives" will be proudly displayed. Then, upon the snap of a slave whip, the "hunters" will strip and join the captives. A larger net will then be used to cover all of the slaves