SLAVE DANCES
Chain Dance

This seems like it is a long dance with numerous phases. It begins with a robed and veiled woman, scared and nervous, trying to flee from some unknown pursuer. A Warrior will appear and will continually block her escape. Eventually, he will capture her, and will remove her robes and veil. She will plead desperately with him but to no avail. She will then kneel and submit to him. The Warrior will ko'lar and chain her, using a ko'lar and a chain of about twenty feet. The girl will go out to the limit of the chain and will start to dance. At times, the Warrior will pull the chain toward him and then release the chain, though he will decrease the length of the chain. He will do this multiple times, each time signifying a different phase of the dance. Theses phases will show many different styles and emotions, from a savage dance filled with hatred to graceful and pleading. Other phases will be very slow, consisting of almost no movement except for the turning of a head or the movement of a hand. Even other phases will be defiant and swift, stately, simple, proud, and even piteous. The dance finally ends when all of the chain is gone. The Warrior will then kiss the slave and carry her off.
This dance is copied exactly from the Sacred Scrolls

A Port Kar Slave's Chain Dance

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.

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.

Nomads of Gor, pgs. 159 - 161
VAULT
DANCES PG 4