General Quotes on Gorean Dance

General Quotes on Dance

"Dance, Tende!" said he. He began to sing and clap, looking downriver.
"That is a slave song!" she cried.
He stopped clapping and singing, and regarded her.
"There are white slaves present, Master!" she cried.
He looked upon her sternly.
"I dance, my master," she cried, frightened. She flexed her legs, freeing her body to move, and extended her arms gracefully to the right, the right arm further advanced than the left.
"Is she free?" asked, Ayari.
"No," said Kisu.
"Have her put her arms over her head, wrists back to back," said Ayari.
"Do so," said Kisu.
Tende complied.
"How lovely that is," said Kisu.
"I have seen it done in Schendi," said Ayari. "It is one of the ways in which a slave may begin a dance."
I smiled to myself. That was true. The lovely posture which Tende had just assumed was undeniably one of the initial postures of certain slave dances. It is widely known on Gor, of course, not just in Schendi. It is, for example, quite familiar in Port Kar and, far to the southeast of that port, and somewhere far to the north and east of our present position, in the Tahari. Slave dances, of course, may begin in dozens of ways, sometimes even with the girl roped or chained at a man's feet.
I looked at Tende.
To be sure, only a slave dance could begin from such a posture. No free woman, for example, would dare to place herself in such a position before Gorean free men, unless perhaps, weary of her misery and frustration, she was begging them, almost explicitly, to put her in a collar.
There are many stories of Gorean free women, sometimes of high caste, who as a lark or in a spirit of bold play, dared to dance in a paga tavern. Often, perhaps to their horror, they found themselves that very night hooded and gagged, locked in close chains, lying on their back, their legs drawn up, fastened in a wagon, chained by the neck and ankles, their small bodies bruised on its rough boards as they, helpless beneath a rough tarn blanket, are carried through the gates of their city.
"Are you ready, Slave?" asked Kisu.
"Yes, Master," said Tende.
I am fond of slave danes. It is hard for a woman to be more beautiful than when she dances her beauty as a slave before masters. But then a woman can be incredibly beautiful in almost all attitudes and postures. It is strange that the men of Earth are so seldom aware of the subtler beauties of women, but then they have not seen them in their full femininity, as slaves.
A woman can be very beautiful simply greeting her master, head down, at the door to his chambers. She can be very beautiful in doing so small a thing as pouring his wine, eyes downcast, gracefully, as his slave. Perhaps she is a bit more beautiful, however, when she kneels helplessly before you, or lies piteously at your feet supplicating you to satisy her slave needs.
Perhaps she is most beautiful when she, collared in your arms, cries out in orgasm, acknowledging you as her master.
"Dance, Slave," said Kisu.
"Yes, Master," said Tende.
Tende then, obedient to her master's command, as Kisu clapped his hands and sang, danced on a flat rock in the Ua river, danced before Bila Huruma, so far away, her master's enemy, from whom she had been stolen.
She danced well.
I observed the eyes of the blond-haired barbarian who, with Alice, knelt on the rock. The eyes of the blond-haired barbarian, gazing on the exhibited slave, shone with excitement. How beautiful Tende was. And how stimulating it was to the blond-haired barbarian to realize that a man could force a woman to do this sort of thing.
Kisu continued to clap his hands. He continued to sing, the strains of a melodic slave song.
Dances bring high prices on Gor. Some slavers specialize in dancers, renting them, and buying and selling them. Two such houses in Ar are those of Kelsius and Aurelius. Some say that the finest dancers of Gor are found in Ar; others say that they are found in Port Kar, and others that they are in the Tahari, or in Turia. These controversies, I think, are fruitless. I have been in many cities and in each I have found marvelous dancers. The matter is further complicated by the buying and selling of girls and their shipment, as merchandise, among cities. A dancer has usually had many masters; her fair throat has been graced by many collars. In some cities if a dancer is not thought to have been sufficiently pleasing she is thrown to the patrons of the tavern to be torn to pieces or beaten. If she is thought to have been sufficiently pleasing she may be auctioned, for the period of an Ahn, to the highest bidder.
"Enough!" called Kisu, happily.
Tende stopped dancing...
Explorers of Gor, page 342

I considered the belly and hips of the dancing girl as she thrust them toward me, undulating, as the music pounded in the tavern. The girl was naked, save that she wore many strings of jewels and armlets. too she wore bracelets and anklets of gold, which had been locked upon her, and were belled.
Her collar, too, was of gold, and belled. She was blond, and it was said she was from earth. A single pearl, fastened in a setting like a droplet, on a tiny golden chain, was suspended at the center of her forehead.
Rogue of Gor, page 10-11

'Please, Master,' whispered the girl to me. She extended her small hand, still dancing, as though to touch me. On her wrist was a golden bracelet, belled. I saw the small lock, with its key socket, on the bracelet. She could not remove it.
Rogue of Gor, page 12

There was Gorean applause in the room, the striking of the right palm on the left shoulder.
Rogue of Gor, Page 13

'Slave dance,' on Gor incidentally, is a very rich and varied dance form. It covers a great deal more than simple 'ethnic dance.' For example, it includes dances such as hunt dances, capture dances, submission dances, chain dances, whip dances, and such. Perhaps what is done in slave dance on Gor would count as 'exotic dance' on Earth, but, if we are thinking of the actual kinds of dances performed, then there is much in slave dance, for example, story dances, which are seldom, if ever, included in 'exotic dance' on Earth, and there are forms of dance in 'exotic dance' which for one reason or another, are seldom, if ever, seen on Gor, for example, certain forms of carnival dancing, such as bubble dancing or fan dancing. Perhaps the reason such dances are seldom, if ever, seen on Gor, is that Goreans would be likely to regard them as being 'real dance.' They would be regarded, I think, as little more than culturally idiosyncratic forms of comedic teasing. They are, at any rate, not the sort of dance, or the 'danse-du-ventre' sort, so pleasing to strong men, which a slave on Gor, fearing the whip must often learn to perform.
Dancer of Gor, Page 172

There is nothing coy or teasing about a Gorean dancer if the dance is of the scrolls. the girl wishes to be taken, wishes to please, she wishes to excite them, and twist them with torments of desire, and make them gasp and scream with pleasure! They would not compromise with a woman like me.
hey would want her too much. They would throw her to their feet. They would dominate and master me, mercilessly! I was a female. In the arms of no other sort of man could I be fulfilled!
What an excellent slut, what superb slave meat.
Dancer of Gor, Page 192

"The dancing of the female before the male, that she be found pleasing and he be pleased, is one of the most profound lessons in all of human biology. Others are when she kneels before him, when she kisses his feet, when she performs obeisance, when she knows herself subject, truly, to his whip."
Dancer of Gor, Page 193

I saw Tenalion smile. To be sure, many of the dances of female slaves are lovely and sensuous; others of course, are piteous and orgasmic. In all fairness, though, one must note that there is a large variety of slave dances on Gor, and that there is some variation from city to city. The institution of female slavery on Gor is doubtless thousands of years old; accordingly it is natural that there should be great complexity and refinement in such a delicious art from as slave dance. There are even, it might be mentioned, hate dances and rebellion dances, or need dances , or love and submission dances; even the hate and rebellion dances, of course, conclude, inevitably, with the ultimate surrender of the girl to her master as a love slave.
Fighting Slave of Gor, Page 288

Performed for the girl's true Master, each dance is different and unique, as is each Freeperson. It can be done in many ways, from the kajira allowing her hands to roam her own body in throbbing lust for her Master, to the girl writhing in desire and submitting at His feet.
Dancer of Gor, Page 190

Kron clapped his hands again and to my surprise there was a sudden sound of bells and four terrified girls, obviously chosen for their beauty and grace, stood before our table clad only in the scarlet dancing silks of Gor. They threw back their heads and lifted their arms and to the barbaric cadence set by the musicians danced before us…
“Why are they dancing for you?" asked Lara
"They will be whipped if they do not," said Kron.
Lara's eyes dropped.
"You see the collars," said Kron pointing to the slender graceful bands of silver each girl wore at her throat. "We melted the masks and used the silver for the collar." …
When Kron had tired of watching the dancers he clapped his hands twice and with discordant jangle of their ankle bells they fled from the room.
Outlaw of Gor, Page 225-226

"You cannot even dance," I informed her.
Suddenly she stepped back, threw back her head, thrust one leg to the side, and lifted her arms. Then, eyes closed, not moving, except the hell of the right foot, which beat the rhythm, she began to hum a Tuchuk slave song; on the second measure, her hands came to her hips and she opened her eyes, looking at me; on the third measure, her body began to move and, to the melody, she began to sway toward me; when I reached for her she swept back, and danced, her hands at the side of her head, fingers snapping with the melody.
Then she stopped.
"It's all I know," she informed me.
I cried out in rage.
Assassin of Gor, page 56