Traveling within the World
Linking your favorite traveling artists across the globe
26
- VAGABONDS OF GOR, Pg. 50
"I then reached into a sack. I drew forth from it a handful of strings of beads. I threw her a necklace of red and black beads, which I thought was nice.
She looped them twice and still they fell between her lovely breasts, one loop longer than the other."
- EXPLORERS OF GOR, Pg. 335
"The second string of beads was blue and yellow. Both were of small, simple wooden beads, suitable for slave girls. 'Master,' she ashed, holding out to me the blue and yellow beads, 'would you not, please, put this string upon me?'
'Very well,' I said, standing behind her, looping them twice, one loop smaller than the other, about her throat. Each loop, as with the red and black beads, fell between her sweet breasts."
- EXPLORERS OF GOR, Pg. 335
"'Why did you want this string?' I asked.
'Are blue and yellow not the colors of slavers?' she asked.
'Yes,' I said.
'Are blue and yellow beads then,' she asked, 'not appropriate for me, for I am a slave?'
'They are very nice,' I said,' but any simple, cheap beads, say of wood or glass, will do as well for a slave.'"
- EXPLORERS OF GOR, Pg. 335
Coins
Simple coins are often drilled and strung together on cords, or likewise attached to small chains to produce cheap and flashy jewelry for slaves. Styles of such range from necklaces and headbands, to belts and halters, and they are often worn in conjunction with other like adornments. The effect created by these articles are much suited to kajirae, both in their look and the noises they produce.
"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."
- TRIBESMEN OF GOR, Pg. 8
"I also wore a triple necklace of coins, together with the necklaces of slave beads, of both glass and wood."
- DANCER OF GOR, Pg. 223
Slave Bells
Gorean Slave Bells are a powerful symbol of bondage and ownership, literally calling out to all that can hear, that here walks a slave. These bells come in many forms, for application to many parts of the body. The sounds they produce can also vary, but commonly they are light and musical, meant toplay upon the movements of the girl.
"He had put the bells on me. It is often men who put slave bells on their girls. Such bells are indicative of bondage."
- DANCER OF GOR, Pg. 226
"The sound was tiny, rich, and sensuous. They were slave bells. They would draw men to my body. I moved slightly. I felt them stir on my body and on the loops that held them. So slight a movement made them sound! I, miserable, was caught in their lewd, delicious rustle. I suppose the sound of the bells, objectively considered, is rather lovely. Yet of theirs was a music of bondage, one which, in its tiny, delicious sounds, rustling, whispered, 'Kajira, Kajira.' They said, 'You are nothing, Girl. You are a belled Kajira. You are nothing, Girl. You exist for the pleasure of men. Please them well, lovely Kajira.'"
- SLAVE GIRL OF GOR, Pg. 84
"'Bell yourself,' she said.
I extended my left ankle and, carefully, aligned the four rings. The rings were linked vertically at five places by tiny metal fastenings; each ring, opened, hinged, terminated on one end with a bolt and the other with a tiny lock; I slipped the small bolts into the four tiny locks; there were four tiny snaps; the rings, linked together, fitted snugly; each ring bore five slave bells."
- SLAVE GIRL OF GOR, Pg. 259
"I heard the jingle of tiny bells, slave bells.
I became conscious of a woman’s feet, bare, near me.
The bells, tiny, in four rows, were thonged about her left ankle."
- SLAVE GIRL OF GOR, Pg. 253
"She wore bells locked on both wrists, and on both ankles, thick cuffs and anklets, each with a double line of bells, fastened by steel and key."
- NOMADS OF GOR, Pg. 29
"In the cities, only Pleasure Slaves are so belled and then customarily for the dance."
- NOMADS OF GOR, Pg. 29
"I also purchased a set of slave bells, of the thong as opposed to the lock variety. They are less expensive than the lock variety; also, they may be tied at various places on the body, about the neck, the wrist, the ankle, about the thigh, about the arm, etc.; it is delightful to bell a girl; she may not remove them, of course, without her master's permission."
- TRIBESMEN OF GOR, Pg. 49
Shells
Exotic shells have long been prized for their beauty and at times value. In fact such is sometimes used as a means of trade, almost as coinage even. Shells also can be made into forms of jewelry, by drilling small holes in them and stringing them along cords, or fitting them to chains. This form of ornamentation is popular for slave girls in some regions.
"'You traded the shells about my throat. You traded even the shells about my ankle.'"
- EXPLORERS OF GOR, Pg. 287
"I then removed the white shells and cord from the throat and left ankle of the blond-haired barbarian, and snapped the two cords in half. I then retied shells on her throat and left ankle. The two remaining pieces of cord, whith their shells, I gave to Kisu. He then tied them on the throat and left ankle of Tende.
'You have ornamented me as a slave, Master,' said Tende."
- EXPLORERS OF GOR, Pg. 275
Chains
Chains are handled in much more detail in another section of this website, but for the sake of organization, they are also being mentioned here.
When placed on slave girls, chains are not seen by Gorean men so much as a form of necessary restraint, but rather are viewed as yet another type of jewelry, and a quite beautiful and arousing one at that.
"I observed the chains on the little slave in bluish gauze. How beautiful they were on her! I wondered if she even realized that she, this, was not not only serving but was not a pleasant portion of out entertainment."
- GUARDSMAN OF GOR, Pg. 240
"Chains, as is well known, often enhance, and incredibly so, the beauty of a female. This matter is doubtless partly aesthetic and partly emotional and intellectual."
- GUARDSMAN OF GOR, Pg. 242
COSMETICS
The cosmetics available to a slave girl are many and varied, being as numerous as the possible attitudes and appearances an owner may wish his property to assume. They are often of a more sensual and "barbaric" tone and style, rather than reserved. The primary use of cosmetics is to enhance the beauty of the slave, complimenting her appearance, and accenting her features in a manner found pleasing to Gorean men. The use of cosmetics is also believed to be an effective way of stimulating the slave in a girl. Often during training, especially that done by Slavers, a girl will be throughly taught the proper use and application of cosmetics, and made to often view herself in a mirror, that she might see for herself how such properly looks upon her, and that she might see what such does to enhance her beauty as a slave.
"'You are a hot little slut,' she said. 'Kneel before the mirror.'
'There are one hundred and eleven basic shades of slave lipstick,' said Sucha. 'Much depends on the mood of the master.'"
- SLAVE GIRL OF GOR, Pg. 261
"She had rouged her lips."
- TARNSMAN OF GOR, Pg. 134
"I waited my turn before the mirror and applied the cosmetics of the Gorean slave girl. I knew well how to do this, for I had been trained."
- CAPTIVE OF GOR, Pg. 322
PERFUME
The sort of perfume that is appropriate for slave girls, differs greatly from that a Free Woman might wear. Those scents that are designed for slaves are meant to incite desire in men, to attract attention and accent the "slut" in the girl, often also having the same effect on the girl that they do on the men around her. Such perfumes can vary greatly, depending on the taste of the owner and the situation the girl is to perform in. Gorean men take great interest in such matters as perfumes, cosmetics and clothes, thus many different styles and variations exist to fit as many situations and circumstances that are deemed possible. Regarding slave scents, such can range from that is often barbaric and bold in nature to more sublte yet highly alluring. It is not uncommon for scents to be chosen or even created to specifically fit the nature and manner of the given girl.
"My head swam at the sudden intoxicating scent of a wild perfume."
- TARNSMAN OF GOR, Pg. 134
"I pulled the coverlet up, even more closely, about my neck. I felt its soft silk on my naked, perfumed body. The perfume was exquisitely feminine."
- KAJIRA OF GOR, Pg. 41
"A rich master will often have individual purfumes specially blended and matched to the slave nature of his various girls. All are slaves, completely, but each girl, collared, imbonded, is deliciously different. Some slave purfumes are right for some slaves, and others not."
- TRIBESMEN OF GOR, Pg. 230
"'Will I be given pretty things to wear,' she asked, 'and cosmetics, perfumes?'
'It is quite likely,' I said. 'Masters like their girls to make themselves becautiful.'"
- BEASTS OF GOR, Pg. 248
"'Soon, when you have been properly prepared, you will be dressed in costly pleasure silk, given sandals perhaps, scarves, veils, and jewels, garments to gladden the heart of a maiden.'
'Of a slave,' she said."
- OUTLAW OF GOR, Pg. 62
"'Bring perfumes,' she called to the feast steward, and he sent forth the camisk-clad slave who carried the tiny tray of exotic Turian perfumes. She took one or two of these small bottles and held them under her nose, and then sprinkled them about the table and cushions. Her actions delighted the Turians, who laughed."
- NOMADS OF GOR, Pg. 95
"In more sophisticated Gorean banquets, incidentally, the serving slaves often change costume and jewelry, and sometimes chains, with each course of the meal, their ensembles and accessories being matched to the various courses."
- GUARDSMEN OF GOR, Pg. 241
The dress of a Gorean Dancer varies with the tone and purpose of the dance itself. She can be clothed in anything from dancing silks and beads, to full costume and elaborate costume inorder to better portray the "phases" of the story the song might tell. Her general ornamentation is also selected to both enhance her beauty and to make her more simulating to the audience.
"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."
- TRIBESMEN OF GOR, Pg. 8
"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. 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, Pg. 10-11
"I then gave my attention to the dancer, a sweetly hipped black girl in yellow beads."
- EXPLORERS OF GOR, Pg. 133
"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."
- TRIBESMEN OF GOR, Pg. 8
"She wore a delicate vest and belt of chains and jewels, with shimmering metal droplets attached. And she wore ankle rings, and linked slave bracelets, again with shimmering droplets pendant upon them; and a locked collar, matching."
- RAIDERS OF GOR, Pg. 100
"I could hear the jewelry on me, the tiny sounds of the skirt. Bells, too, marked these movements. I was belled. These I had fastened, in three lines, they fastened on a single thong, about my left ankle. Men, I sensed, somehow, would relish an ornamented woman, perhaps even one who was shamefully belled."
- DANCER OF GOR, Pg. 25
"I noted, too, that, clad in yellow silk, belled on the left ankle, as another paga girl, the dancer, carried a vessel of paga about."
- HUNTERS OF GOR, Pg. 62
"I heard bells coming, from down the corridor, from within. I was still on my knees. Sita hove into sight, returning to the floor. She paused, looking down at me, kneeling there, clutching the sheet about me, frightened. She was naked, except for her collar, and some beads, colorful, cheap wooden beads, slave beads, and her bells, on her left ankle."
- DANCER OF GOR, Pg. 172
"She danced before me for several minutes, her scarlet dancing silks flashing in the firelight, her bare feet, with their belled ankles, striking softly on the carpet."
- TARNSMEN OF GOR, Pg. 135
"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."
- NOMADS OF GOR, Pg. 159
"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."
- ASSASSIN OF GOR, Pg. 228
"I felt metal anklets being thrust on my ankles by Tupita and Sita, They put several on each ankle. They then, similarly, placed narrow bracelets on both my wrists, several on each wrist. A long belt of cord, to which were attached numerous metal disks, suspended and shimmering, was then looped twice about me, the first loop secured high, and tight, at my waist, and the second loop, a larger loop, a framing loop, was secured in such a way, in the back, that it would hang quite low on my belly, well below my navel. The purpose of this belt was to call attention to, and enhance, by sound and sight, the movements of the hips and abdomen. With the slave beads I already wore I felt inutterably displayed, and barbaric. I could not move now without the sounds of the beads, the anklets and bracelets, the shimmering belt with its two loops."
- DANCER OF GOR, Pg. 190-191
"I teased them, dancing close to them, swaying, my belly alive for them, with the jangling metal pieces, the anklets clashing on my ankles, the bracelets sliding and ringing on my wrists, and then, as they attempted to seize me, drew back. backing away, or whirled, with a swirl of beads, away from them."
- DANCER OF GOR, Pg. 193
"The proprietor of the tavern took the red-haired dancing girl by the arm, she crying out, and thrust her in her costume, ten slender silver chains, five before and five behind, depending from her collar, from the sand."
- ROGUE OF GOR, Pg. 57
"She wore a golden metal dancing collar about her throat, golden chains looped from her wrists, gracefully to the collar ring, then fell to her ankles; there are varieties of Tahari dancing chains; she wore the oval and collar; briefly, in readying a girl, after she has been belled and silked, and bangled, and has been made up, and touched with slave perfume, she kneels, head down in a large oval of light gleaming chain, extending her wrists before her; fastened at the sides of the top of the oval are two wrist rings, at the sides of the lower loop of the oval two ankle rings; the oval is then pulled inward and the wrist and ankle rings fastened on the slave; her throat is then locked in the dancing collar, which has, under the chin, an open snap ring; with the left hand the oval is then gathered together, so the two strands of chain lie in the palm of the left hand, whence, lifted, they are placed inside the snap ring, which is then snapped shut, and locked; the two strands of chain flow freely in the snap ring; accordingly, though the girl's wrists and ankles are fastened at generous, though inflexible limits from one another, usually about a yard for the wrists and about eighteen inches for the ankles, much of the chain may be played through, and back through, the collar ring; this permits a skillful girl a great deal of beautiful chain work; the oval and collar are traditional in the Tahari; it enhances a girl's beauty; it interferes little with her dance, though it imposes subtle, sensuous limits upon it; a good dancer uses these limits, exploiting them deliciously; for example, she may extend a wrist, subtly holding the chain at her waist with her other hand; the chain slides through the ring, yet short of the expected movement; the chain stops her wrist; her wrist rebels, but is helpless; it must yield; her head falls; she is a chained slave girl."
- TRIBESMEN OF GOR, Pg. 215
Gorean Slave Dance
Gorean Slave Dance, while it can be likened in part to 'ethnic' and 'exotic' dance on Earth, is in reality much more. It is a combination of story telling, display of emotion, eroticism, acting, and the portrayal of sexual need, and provides the entertainer, though slave, with much power over her audience, as her desire, portrayed in her movements, likewise flames the desire of the men who watch.
While there are certain "types" of Slave Dances, there is much variation in how each is done. Gorean Slave Dance is an expression of the performers innerself, her desires and emotions, making even trained, traditional dances take on new aspects with the performance of each indivudual girl.
"Slave dance, that form of dance, in its thousands of variations, in which a female may excitingly and beautifully, marvellously and fulfillingly, express the depths and profoundities of her nature. In such dance the woman moves as a female, and shows herself as a female, in all her excitingness and beauty. It is no wonder that women love such dance, in which dance they are so desirable and beautiful, in which dance they feel so free, so sexual, so much a slave."
- MAGICIANS OF GOR, Pg. 44
"'Have you ever seen slave dance?' I asked.
'You have no idea, then,' I said, 'of its incredible sensuousness and beauty, and how a woman appears in it, how exciting, desirable, and owned, and of how men, seeing it, can cry out with need?'
'There are various movements in slave dance,' I said, 'of the hips, the belly, and such, indeed, of the entire body, which are clearly akin to, and reminiscent of, the movements of love and need.
'To be sure, in the dance,' I said, 'these movements tend to be under much stricter control. The dance is, after all, an art form. Nonetheless it is clear that the sexuality of the dancer is not uncommonly aroused. After all, it is hard for a woman to be beautiful and sensuous without feeling beautiful and sensuous, and it is hard for her to feel beautiful and sensuous without having her sexuality ignited. Indeed, few are the dancers who have not upon occasion, even in the dance itself, succumbed to orgasmic helplessness. This can occur to them while they are on their feet, but more often it will occur during floor movements or when they are on their knees.'"
- MAGICIANS OF GOR, Pg. 353 - 354
"The form of dance to which I had been drawn on Earth, for whatever reason or reasons, whether because of some sort of feared innate, ungovernable sensuousness, or extreme deep-seated feminine dispositions or needs, or perhaps even, simply, a sense of what was appropriate for me, whether I wished it or not, considering the realities of my ultimate. nature, I had preferred to think of as 'ethnic dance.' I had been secretly thrilled, of course, but had scarcely dared, even to myself, to think of it as 'belly dance,' or, as the French have it 'dense du ventre,' a term popular with some, with some perhaps as a euphemism, and with others as a sensuous way of expressing the matter, one with the same objective meaning as 'belly dancing' but which, for them, perhaps, has rich and special connotations. To be sure, both terms are in a sense reductive misnomers, for in this form of dance, as in other forms of dance, the dancer dances with her entire body and beauty. I had never cared too much for the term 'exotic dance' as that term seems to me too broad, in that it covers not only 'ethnic dance,' if, indeed, it really covers that, but many other forms of dance as well, which seem to have little in common other than their capacity to be sexually stimulatory. But then, to a discerning eye, most, or all, dance, and certainly ballet, for example, is sexually stimulatory. Those who fear and hate sex have, I think, understood these things better than many others, for example, low-drive individuals and the sexually inert."
- DANCER OF GOR, Pg. 171 - 172
"'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 not be likely to regard them as being 'real dance.' They would be regarded, I think, as little more than culturally idiosyncratic forms of commedic 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, Pg. 172
"On Gor, dance of the sort in which I was expected to perform, is called, simply, 'slave dance.' That is presumably because it is a form of dance which, for the most part, is thought to be fit only for slaves, and would be performed only by, slaves. The thought crossed my mind that the lovely woman who had been my teacher on Earth had once remarked to me, 'We are all slaves.' I think that is true."
- DANCER OF GOR, Pg. 172
"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 form 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, Pg. 288 - 289
"There is no standardization, or little standardization, for better or for worse, in Gorean slave dance. Not only can the dances differ from city to city, and town to town, and even from tavern to tavern, but they are likely to differ, too, even 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, of course, it provides her with a wondrous modality for deeply intimate self-expression. 'They all wear collars,' is the first portion of a familiar exchange, of which Goreans are fond. The second, and concluding, portion of the exchange is, 'But each in her collar is different.' This exchange, I think, makes clear the attitude of the Gorean toward the slave girl. In one sense, she is nothing, and is to be treated as such, but, in another sense, she is precious, and is everything."
- GUARDSMAN OF GOR, Pg. 260
"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."
- BLOOD BROTHERS OF GOR, Pg. 42 - 43
"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, transfixed 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 dancers body, and kinetically felt by those who watch."
- TRIBESMEN OF GOR, Pg. 11
"The dancing of a slave is a thousand times more sensous than that of a free woman because of the incredible meanings involved, the additional richness which this furnishes, the explosive significance of this comprehension, that she who dances is owned, and theoretically, could be owned by you."
- DANCER OF GOR, Pg. 193
"Certainly, however, not all women are legal slaves. Many women are free, legally, whether it is in their best interest or not. Such dances, then, 'slave dances,' at least on Gor, are not for such women. If a 'free woman,' that is, one legally free, were to publicly perform such a dance on Gor she would probably find herself in a master's chains by morning. Her 'legal freedom,' we may speculate, would prove quite fleeting. It would soon be replaced, we may suppose, with a new and more appropriate status, that of being a slave legally, a status fixed on her then with all the clarity and obduracy of Gorean law, and fixed on her for all the world to see, fixed on her as plainly as the collar on her neck and the mark on her thigh."
- DANCER OF GOR, Pg. 172
"Free women, incidentally, are seldom permitted to witness dances of the erotic power of the Sa-eela. The major reason for this, interestingly, is not that they might be offended or outraged, but for theor own protection. Many times lovely, young free women, sometimes thinking that they have cleverly disguised themselves, donning male garments, pretending to be boys, thus seeking admission to the dances, find themselves set upon and stripped. Soon, in chains and well ravished, they find themselves as much slaves as the dancer. Perhaps, in their turn, too, they will be taught to dance. On their way to the market they may, if they wish, reflect upon what they, at that time, are likely to regard as their folly. Later, at the feet of a strong man, they may become clearer on the nature of the motivations that took them to such a performance in the first place. They were courting slavery, begging, in their way, for the steel of the collar, pleading to the subject, if they were not pleasing, to the cut of the whip. They had not truly been free women; they had only been, unbeknownst to themselves, slaves in search of masters."
- GUARDSMAN OF GOR, Pg. 264 - 265
Training of a Dancer
The ability to dance before men, in the effort to appear desirable, is instinctual to a woman, though individual skill does vary. Of primary concern is that the motions of the girl be fluid and appealing, enticing to the audience of men.
While it may be instinctual for a woman to dance her need to men, to show her emotions in movements, the refinement of these motions takes training, as does instruction in the basic forms of the various Gorean Slave Dances.
"I moved, warming up, preparing my muscles, I was intent and careful. A dancer, of course, does not simply begin to dance. That can be dangerous. She warms up. It is like an athlete warming up, I suppose."
- DANCER OF GOR, Pg. 25
"It is good for them to get the practice, hearing and seeing men respond to them. That is the way to learn what truly pleases men. In the end, I say, it is men who teach women to dance."
- ASSASSIN OF GOR, Pg. 91
"Any female taken to gor, I suppose, must expect to learn at least the rudiments of slave dance."
- DANCER OF GOR, Pg. 357
"'Such movements, of course,' Glyco was saying, 'are instinctual in a woman.'"
- GUARDSMAN OF GOR, Pg. 260
"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."
- EXPLORERS OF GOR, Pg. 361
"'These women,' said Hermidorus, 'are practicing their floor movements.'
A trainer stood among them, with a whip. Occasionally he would snap this whip near a girl. I did not doubt but what the girls on the tiles, if they were found sufficiently displeasing to the trainer, or too frequently required the admonitory signal of the cracking leather, would soon hear the snap of the lash not in their mere vicinity but on their own bared bodies. Two of the girls, I saw, had stripes on them, one on the thigh, and one on the side. The trainer was not now paying them much attention. They were now, apparently, doing well."
- KAJIRA OF GOR, Pg. 142
"In the latter range of our studies some of the girls were even instructed in the rudiments of what, perhaps for lack of a better word, might be described, using the Earth expression, as 'ethnic dance.' It did not surprise me that the men of this world, who seemed to have such a lust for, and such a relish for, and appreciation of, females, would command such dance of them. I gathered this form of dance was quite common here and that it might be required of any female, or any female of our sort."
- DANCER OF GOR, Pg. 70
"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."
- EXPLORERS OF GOR, Pg. 362
On Dancers
Gorean Slave Dance is a highly popular form of entertainment on Gor. Performances can be advertised far in advance and often draw large crowds.
Street dancers, the most common, perform in alleyways and on busy corners, dancing to onlookers who throw coins in response to what skill she has. Those with promise are usually purchased by private owners or by Paga Taverns.
Dancers in Paga Taverns perform nightly and are can have great influence on the popularity of their owners business. They often must be inquired upon with the Paga Attendant or Tavern Keeper before they may be sexually used, the price for such being negotiated and far more then a common paga slave.
Skilled dancers are much valued for their ability, and the best are often seen as celebrities whose names are widely known.
Ownership of such a girl can bring prestige to a House, and great fame to a Tavern, quickly increasing the business of an establishment.
"The true dancing girl, who has a great aptitude for such matters, and years of experience, is a marvel to behold, for she seems always different, subtle and surprising. Some of these girls, interestingly, are not even particularly beautiful, though in the dance they become so. I expect a great deal has to do with the girl's sensitivity to her audience, with her experience in playing to, and interacting with, different audiences, teasing and delighting them in different ways, making them think suddenly, by contrast, startling them, astonishing them and driving them wild with the madness of their desire for her. Such a girl, after a dance, may snatch up dozens of gold pieces from the sand, putting them in her silk, scurrying back to her master."
- ASSASSIN OF GOR, Pg. 91
"Only too obviously was this a trained dancer, and yet, too, there was far more than training involved. Too, I speak not of such relatively insignificant matters as the mere excellence of her figure for slave dance, as suitable and fitting as it might be for such an art form, for women with many figures can be superb in slave dance, or that she must possess a great natural talent for such a mode of expression, but something much deeper. In the nature of her dance I saw more than training, her figure, and her talent. Within this woman, revealing itself in the dance, in its rhythm, its joy, its spontaneity, its wonders, were untold depths of femaleness, a deep and radical femininity, unabashed and unapologetic, a rejoicing in her sex, a respect of it, a love of it, an acceptance of it and a celebration of it, a wanting of it, and of what she was, a woman, a slave, in all of its marvellousness."
- MAGICIANS OF GOR, Pg. 53 - 54
"As the female by nature has feminine dispositions, needs, instincts and aptitudes, such things being genetically coded within her, functions of her behavioral genetics, as opposed to her property genetics, controlling such matters as eye and hair color, there is a template, or readiness, for self-surrender, service, sensuousness and love within her. These are, of course, familiar aspects of the female slave. Accordingly the readiness for, and the aptitude for, slave dance, so intimately associated with beauty and sexuality, displaying the female in her marvelousness, excitingness and need, scarcely need be noted."
- MAGICIANS OF GOR, Pg. 300
"Dancers have many uses on Gor, both public and private. I suppose this is only to be expected, given the vitality, the masculinity, the strength of Gorean males. Any female taken to gor, I suppose, must expect to learn at least the rudiments of slave dance."
- DANCER OF GOR, Pg. 357
"Actresses need only be actresses. They need not be dancers. But she who is a dancer must be more than a dancer. She must be an actress, as well."
- DANCER OF GOR, Pg. 194
"In the dance I had power. In the dance I was beautiful. I saw delight in the eyes of men."
- DANCER OF GOR, Pg. 193
"Still I was a dancer, and we tend to bring higher prices. We are useful not only in brothels, cabarets, taverns, public pleasure gardens, and such, but wherever there are strong men, wherever there are men who enjoy seeing a woman move before them excitingly, and beautiffully, and as a total female. Indeed, it is said some of the finest and most sensous dancers are private slaves who perform in delicious secrecy, and totally, for a single master."
- DANCER OF GOR, Pg. 357
"Some of us, too, serve as imbonded camp followers, and wll count as part of the loot should the camp fall into enemy hands. Some of us serve, too, in remote army posts, where we are kept to relieve the tedium of the troops. Some, too, of course, as would be expected, serve in the houses of rich men and even in the palaces of Ubars, where we commonly dance for them at their suppers, entertaining them and their guests."
- DANCER OF GOR, Pg. 357
"We, and our uses, of course, may also be rented out for private dinner parties, for banquets and feasts, and such."
- DANCER OF GOR, Pg. 357
"The dancing girls of Port Kar are said to be the best of all Gor. They are sought eagerly in the many cities of the planet. They are slave to the core, viscious, treacherous, cunning, seductive, sensous, dangerous, desirable, excruciatingly desirable."
- RAIDERS OF GOR, Pg. 100
"Then I knew I did not want to dance poorly. Out there were men, real men, many of whom excited and stirred me, even in my virgin's belly. I could scarcely imagine what it might be to be helpless in their arms, and at their power, as a slave. I saw the men, even now, looking at me! I could sense the heat and desire in them. They would not compromise with a woman like me. They 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!"
- DANCER OF GOR, Pg. 192
"The Gorean dancer is expected, usually, to sayisfy the passions she arouses."
- PLAYERS OF GOR, Pg. 26
Dress of a Dancer
The dress of a Gorean Dancer varies with the tone and purpose of the dance itself. She can be clothed in anything from dancing silks and beads, to full costume to better portray the "phases" of the story the song might tell. Her general ornamentation is also selected to both enhance her beauty and to make her more simulating to the audience.
"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."
- TRIBESMEN OF GOR, Pg. 8
"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. 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, Pg. 10 - 11
"I then gave my attention to the dancer, a sweetly hipped black girl in yellow beads."
"I then reached into a sack. I drew forth from it a handful of strings of beads. I threw her a necklace of red and black beads, which I thought was nice.
She looped them twice and still they fell between her lovely breasts, one loop longer than the other."
- EXPLORERS OF GOR, Pg. 335
"The second string of beads was blue and yellow. Both were of small, simple wooden beads, suitable for slave girls. 'Master,' she ashed, holding out to me the blue and yellow beads, 'would you not, please, put this string upon me?'
'Very well,' I said, standing behind her, looping them twice, one loop smaller than the other, about her throat. Each loop, as with the red and black beads, fell between her sweet breasts."
- EXPLORERS OF GOR, Pg. 335
"'Why did you want this string?' I asked.
'Are blue and yellow not the colors of slavers?' she asked.
'Yes,' I said.
'Are blue and yellow beads then,' she asked, 'not appropriate for me, for I am a slave?'
'They are very nice,' I said,' but any simple, cheap beads, say of wood or glass, will do as well for a slave.'"
- EXPLORERS OF GOR, Pg. 335
Coins
Simple coins are often drilled and strung together on cords, or likewise attached to small chains to produce cheap and flashy jewelry for slaves. Styles of such range from necklaces and headbands, to belts and halters, and they are often worn in conjunction with other like adornments. The effect created by these articles are much suited to kajirae, both in their look and the noises they produce.
"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."
- TRIBESMEN OF GOR, Pg. 8
"I also wore a triple necklace of coins, together with the necklaces of slave beads, of both glass and wood."
- DANCER OF GOR, Pg. 223
Slave Bells
Gorean Slave Bells are a powerful symbol of bondage and ownership, literally calling out to all that can hear, that here walks a slave. These bells come in many forms, for application to many parts of the body. The sounds they produce can also vary, but commonly they are light and musical, meant toplay upon the movements of the girl.
"He had put the bells on me. It is often men who put slave bells on their girls. Such bells are indicative of bondage."
- DANCER OF GOR, Pg. 226
"The sound was tiny, rich, and sensuous. They were slave bells. They would draw men to my body. I moved slightly. I felt them stir on my body and on the loops that held them. So slight a movement made them sound! I, miserable, was caught in their lewd, delicious rustle. I suppose the sound of the bells, objectively considered, is rather lovely. Yet of theirs was a music of bondage, one which, in its tiny, delicious sounds, rustling, whispered, 'Kajira, Kajira.' They said, 'You are nothing, Girl. You are a belled Kajira. You are nothing, Girl. You exist for the pleasure of men. Please them well, lovely Kajira.'"
- SLAVE GIRL OF GOR, Pg. 84
"'Bell yourself,' she said.
I extended my left ankle and, carefully, aligned the four rings. The rings were linked vertically at five places by tiny metal fastenings; each ring, opened, hinged, terminated on one end with a bolt and the other with a tiny lock; I slipped the small bolts into the four tiny locks; there were four tiny snaps; the rings, linked together, fitted snugly; each ring bore five slave bells."
- SLAVE GIRL OF GOR, Pg. 259
"I heard the jingle of tiny bells, slave bells.
I became conscious of a woman’s feet, bare, near me.
The bells, tiny, in four rows, were thonged about her left ankle."
- SLAVE GIRL OF GOR, Pg. 253
"She wore bells locked on both wrists, and on both ankles, thick cuffs and anklets, each with a double line of bells, fastened by steel and key."
- NOMADS OF GOR, Pg. 29
"In the cities, only Pleasure Slaves are so belled and then customarily for the dance."
- NOMADS OF GOR, Pg. 29
"I also purchased a set of slave bells, of the thong as opposed to the lock variety. They are less expensive than the lock variety; also, they may be tied at various places on the body, about the neck, the wrist, the ankle, about the thigh, about the arm, etc.; it is delightful to bell a girl; she may not remove them, of course, without her master's permission."
- TRIBESMEN OF GOR, Pg. 49
Shells
Exotic shells have long been prized for their beauty and at times value. In fact such is sometimes used as a means of trade, almost as coinage even. Shells also can be made into forms of jewelry, by drilling small holes in them and stringing them along cords, or fitting them to chains. This form of ornamentation is popular for slave girls in some regions.
"'You traded the shells about my throat. You traded even the shells about my ankle.'"
- EXPLORERS OF GOR, Pg. 287
"I then removed the white shells and cord from the throat and left ankle of the blond-haired barbarian, and snapped the two cords in half. I then retied shells on her throat and left ankle. The two remaining pieces of cord, whith their shells, I gave to Kisu. He then tied them on the throat and left ankle of Tende.
'You have ornamented me as a slave, Master,' said Tende."
- EXPLORERS OF GOR, Pg. 275
Chains
Chains are handled in much more detail in another section of this website, but for the sake of organization, they are also being mentioned here.
When placed on slave girls, chains are not seen by Gorean men so much as a form of necessary restraint, but rather are viewed as yet another type of jewelry, and a quite beautiful and arousing one at that.
"I observed the chains on the little slave in bluish gauze. How beautiful they were on her! I wondered if she even realized that she, this, was not not only serving but was not a pleasant portion of out entertainment."
- GUARDSMAN OF GOR, Pg. 240
"Chains, as is well known, often enhance, and incredibly so, the beauty of a female. This matter is doubtless partly aesthetic and partly emotional and intellectual."
- GUARDSMAN OF GOR, Pg. 242
COSMETICS
The cosmetics available to a slave girl are many and varied, being as numerous as the possible attitudes and appearances an owner may wish his property to assume. They are often of a more sensual and "barbaric" tone and style, rather than reserved. The primary use of cosmetics is to enhance the beauty of the slave, complimenting her appearance, and accenting her features in a manner found pleasing to Gorean men. The use of cosmetics is also believed to be an effective way of stimulating the slave in a girl. Often during training, especially that done by Slavers, a girl will be throughly taught the proper use and application of cosmetics, and made to often view herself in a mirror, that she might see for herself how such properly looks upon her, and that she might see what such does to enhance her beauty as a slave.
"'You are a hot little slut,' she said. 'Kneel before the mirror.'
'There are one hundred and eleven basic shades of slave lipstick,' said Sucha. 'Much depends on the mood of the master.'"
- SLAVE GIRL OF GOR, Pg. 261
"She had rouged her lips."
- TARNSMAN OF GOR, Pg. 134
"I waited my turn before the mirror and applied the cosmetics of the Gorean slave girl. I knew well how to do this, for I had been trained."
- CAPTIVE OF GOR, Pg. 322
PERFUME
The sort of perfume that is appropriate for slave girls, differs greatly from that a Free Woman might wear. Those scents that are designed for slaves are meant to incite desire in men, to attract attention and accent the "slut" in the girl, often also having the same effect on the girl that they do on the men around her. Such perfumes can vary greatly, depending on the taste of the owner and the situation the girl is to perform in. Gorean men take great interest in such matters as perfumes, cosmetics and clothes, thus many different styles and variations exist to fit as many situations and circumstances that are deemed possible. Regarding slave scents, such can range from that is often barbaric and bold in nature to more sublte yet highly alluring. It is not uncommon for scents to be chosen or even created to specifically fit the nature and manner of the given girl.
"My head swam at the sudden intoxicating scent of a wild perfume."
- TARNSMAN OF GOR, Pg. 134
"I pulled the coverlet up, even more closely, about my neck. I felt its soft silk on my naked, perfumed body. The perfume was exquisitely feminine."
- KAJIRA OF GOR, Pg. 41
"A rich master will often have individual purfumes specially blended and matched to the slave nature of his various girls. All are slaves, completely, but each girl, collared, imbonded, is deliciously different. Some slave purfumes are right for some slaves, and others not."
- TRIBESMEN OF GOR, Pg. 230
"'Will I be given pretty things to wear,' she asked, 'and cosmetics, perfumes?'
'It is quite likely,' I said. 'Masters like their girls to make themselves becautiful.'"
- BEASTS OF GOR, Pg. 248
"'Soon, when you have been properly prepared, you will be dressed in costly pleasure silk, given sandals perhaps, scarves, veils, and jewels, garments to gladden the heart of a maiden.'
'Of a slave,' she said."
- OUTLAW OF GOR, Pg. 62
"'Bring perfumes,' she called to the feast steward, and he sent forth the camisk-clad slave who carried the tiny tray of exotic Turian perfumes. She took one or two of these small bottles and held them under her nose, and then sprinkled them about the table and cushions. Her actions delighted the Turians, who laughed."
- NOMADS OF GOR, Pg. 95
"In more sophisticated Gorean banquets, incidentally, the serving slaves often change costume and jewelry, and sometimes chains, with each course of the meal, their ensembles and accessories being matched to the various courses."
- GUARDSMEN OF GOR, Pg. 241
The dress of a Gorean Dancer varies with the tone and purpose of the dance itself. She can be clothed in anything from dancing silks and beads, to full costume and elaborate costume inorder to better portray the "phases" of the story the song might tell. Her general ornamentation is also selected to both enhance her beauty and to make her more simulating to the audience.
"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."
- TRIBESMEN OF GOR, Pg. 8
"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. 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, Pg. 10-11
"I then gave my attention to the dancer, a sweetly hipped black girl in yellow beads."
- EXPLORERS OF GOR, Pg. 133
"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."
- TRIBESMEN OF GOR, Pg. 8
"She wore a delicate vest and belt of chains and jewels, with shimmering metal droplets attached. And she wore ankle rings, and linked slave bracelets, again with shimmering droplets pendant upon them; and a locked collar, matching."
- RAIDERS OF GOR, Pg. 100
"I could hear the jewelry on me, the tiny sounds of the skirt. Bells, too, marked these movements. I was belled. These I had fastened, in three lines, they fastened on a single thong, about my left ankle. Men, I sensed, somehow, would relish an ornamented woman, perhaps even one who was shamefully belled."
- DANCER OF GOR, Pg. 25
"I noted, too, that, clad in yellow silk, belled on the left ankle, as another paga girl, the dancer, carried a vessel of paga about."
- HUNTERS OF GOR, Pg. 62
"I heard bells coming, from down the corridor, from within. I was still on my knees. Sita hove into sight, returning to the floor. She paused, looking down at me, kneeling there, clutching the sheet about me, frightened. She was naked, except for her collar, and some beads, colorful, cheap wooden beads, slave beads, and her bells, on her left ankle."
- DANCER OF GOR, Pg. 172
"She danced before me for several minutes, her scarlet dancing silks flashing in the firelight, her bare feet, with their belled ankles, striking softly on the carpet."
- TARNSMEN OF GOR, Pg. 135
"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."
- NOMADS OF GOR, Pg. 159
"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."
- ASSASSIN OF GOR, Pg. 228
"I felt metal anklets being thrust on my ankles by Tupita and Sita, They put several on each ankle. They then, similarly, placed narrow bracelets on both my wrists, several on each wrist. A long belt of cord, to which were attached numerous metal disks, suspended and shimmering, was then looped twice about me, the first loop secured high, and tight, at my waist, and the second loop, a larger loop, a framing loop, was secured in such a way, in the back, that it would hang quite low on my belly, well below my navel. The purpose of this belt was to call attention to, and enhance, by sound and sight, the movements of the hips and abdomen. With the slave beads I already wore I felt inutterably displayed, and barbaric. I could not move now without the sounds of the beads, the anklets and bracelets, the shimmering belt with its two loops."
- DANCER OF GOR, Pg. 190-191
"I teased them, dancing close to them, swaying, my belly alive for them, with the jangling metal pieces, the anklets clashing on my ankles, the bracelets sliding and ringing on my wrists, and then, as they attempted to seize me, drew back. backing away, or whirled, with a swirl of beads, away from them."
- DANCER OF GOR, Pg. 193
"The proprietor of the tavern took the red-haired dancing girl by the arm, she crying out, and thrust her in her costume, ten slender silver chains, five before and five behind, depending from her collar, from the sand."
- ROGUE OF GOR, Pg. 57
"She wore a golden metal dancing collar about her throat, golden chains looped from her wrists, gracefully to the collar ring, then fell to her ankles; there are varieties of Tahari dancing chains; she wore the oval and collar; briefly, in readying a girl, after she has been belled and silked, and bangled, and has been made up, and touched with slave perfume, she kneels, head down in a large oval of light gleaming chain, extending her wrists before her; fastened at the sides of the top of the oval are two wrist rings, at the sides of the lower loop of the oval two ankle rings; the oval is then pulled inward and the wrist and ankle rings fastened on the slave; her throat is then locked in the dancing collar, which has, under the chin, an open snap ring; with the left hand the oval is then gathered together, so the two strands of chain lie in the palm of the left hand, whence, lifted, they are placed inside the snap ring, which is then snapped shut, and locked; the two strands of chain flow freely in the snap ring; accordingly, though the girl's wrists and ankles are fastened at generous, though inflexible limits from one another, usually about a yard for the wrists and about eighteen inches for the ankles, much of the chain may be played through, and back through, the collar ring; this permits a skillful girl a great deal of beautiful chain work; the oval and collar are traditional in the Tahari; it enhances a girl's beauty; it interferes little with her dance, though it imposes subtle, sensuous limits upon it; a good dancer uses these limits, exploiting them deliciously; for example, she may extend a wrist, subtly holding the chain at her waist with her other hand; the chain slides through the ring, yet short of the expected movement; the chain stops her wrist; her wrist rebels, but is helpless; it must yield; her head falls; she is a chained slave girl."
- TRIBESMEN OF GOR, Pg. 215
Gorean Slave Dance
Gorean Slave Dance, while it can be likened in part to 'ethnic' and 'exotic' dance on Earth, is in reality much more. It is a combination of story telling, display of emotion, eroticism, acting, and the portrayal of sexual need, and provides the entertainer, though slave, with much power over her audience, as her desire, portrayed in her movements, likewise flames the desire of the men who watch.
While there are certain "types" of Slave Dances, there is much variation in how each is done. Gorean Slave Dance is an expression of the performers innerself, her desires and emotions, making even trained, traditional dances take on new aspects with the performance of each indivudual girl.
"Slave dance, that form of dance, in its thousands of variations, in which a female may excitingly and beautifully, marvellously and fulfillingly, express the depths and profoundities of her nature. In such dance the woman moves as a female, and shows herself as a female, in all her excitingness and beauty. It is no wonder that women love such dance, in which dance they are so desirable and beautiful, in which dance they feel so free, so sexual, so much a slave."
- MAGICIANS OF GOR, Pg. 44
"'Have you ever seen slave dance?' I asked.
'You have no idea, then,' I said, 'of its incredible sensuousness and beauty, and how a woman appears in it, how exciting, desirable, and owned, and of how men, seeing it, can cry out with need?'
'There are various movements in slave dance,' I said, 'of the hips, the belly, and such, indeed, of the entire body, which are clearly akin to, and reminiscent of, the movements of love and need.
'To be sure, in the dance,' I said, 'these movements tend to be under much stricter control. The dance is, after all, an art form. Nonetheless it is clear that the sexuality of the dancer is not uncommonly aroused. After all, it is hard for a woman to be beautiful and sensuous without feeling beautiful and sensuous, and it is hard for her to feel beautiful and sensuous without having her sexuality ignited. Indeed, few are the dancers who have not upon occasion, even in the dance itself, succumbed to orgasmic helplessness. This can occur to them while they are on their feet, but more often it will occur during floor movements or when they are on their knees.'"
- MAGICIANS OF GOR, Pg. 353 - 354
"The form of dance to which I had been drawn on Earth, for whatever reason or reasons, whether because of some sort of feared innate, ungovernable sensuousness, or extreme deep-seated feminine dispositions or needs, or perhaps even, simply, a sense of what was appropriate for me, whether I wished it or not, considering the realities of my ultimate. nature, I had preferred to think of as 'ethnic dance.' I had been secretly thrilled, of course, but had scarcely dared, even to myself, to think of it as 'belly dance,' or, as the French have it 'dense du ventre,' a term popular with some, with some perhaps as a euphemism, and with others as a sensuous way of expressing the matter, one with the same objective meaning as 'belly dancing' but which, for them, perhaps, has rich and special connotations. To be sure, both terms are in a sense reductive misnomers, for in this form of dance, as in other forms of dance, the dancer dances with her entire body and beauty. I had never cared too much for the term 'exotic dance' as that term seems to me too broad, in that it covers not only 'ethnic dance,' if, indeed, it really covers that, but many other forms of dance as well, which seem to have little in common other than their capacity to be sexually stimulatory. But then, to a discerning eye, most, or all, dance, and certainly ballet, for example, is sexually stimulatory. Those who fear and hate sex have, I think, understood these things better than many others, for example, low-drive individuals and the sexually inert."
- DANCER OF GOR, Pg. 171 - 172
"'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 not be likely to regard them as being 'real dance.' They would be regarded, I think, as little more than culturally idiosyncratic forms of commedic 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, Pg. 172
"On Gor, dance of the sort in which I was expected to perform, is called, simply, 'slave dance.' That is presumably because it is a form of dance which, for the most part, is thought to be fit only for slaves, and would be performed only by, slaves. The thought crossed my mind that the lovely woman who had been my teacher on Earth had once remarked to me, 'We are all slaves.' I think that is true."
- DANCER OF GOR, Pg. 172
"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 form 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, Pg. 288 - 289
"There is no standardization, or little standardization, for better or for worse, in Gorean slave dance. Not only can the dances differ from city to city, and town to town, and even from tavern to tavern, but they are likely to differ, too, even 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, of course, it provides her with a wondrous modality for deeply intimate self-expression. 'They all wear collars,' is the first portion of a familiar exchange, of which Goreans are fond. The second, and concluding, portion of the exchange is, 'But each in her collar is different.' This exchange, I think, makes clear the attitude of the Gorean toward the slave girl. In one sense, she is nothing, and is to be treated as such, but, in another sense, she is precious, and is everything."
- GUARDSMAN OF GOR, Pg. 260
"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."
- BLOOD BROTHERS OF GOR, Pg. 42 - 43
"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, transfixed 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 dancers body, and kinetically felt by those who watch."
- TRIBESMEN OF GOR, Pg. 11
"The dancing of a slave is a thousand times more sensous than that of a free woman because of the incredible meanings involved, the additional richness which this furnishes, the explosive significance of this comprehension, that she who dances is owned, and theoretically, could be owned by you."
- DANCER OF GOR, Pg. 193
"Certainly, however, not all women are legal slaves. Many women are free, legally, whether it is in their best interest or not. Such dances, then, 'slave dances,' at least on Gor, are not for such women. If a 'free woman,' that is, one legally free, were to publicly perform such a dance on Gor she would probably find herself in a master's chains by morning. Her 'legal freedom,' we may speculate, would prove quite fleeting. It would soon be replaced, we may suppose, with a new and more appropriate status, that of being a slave legally, a status fixed on her then with all the clarity and obduracy of Gorean law, and fixed on her for all the world to see, fixed on her as plainly as the collar on her neck and the mark on her thigh."
- DANCER OF GOR, Pg. 172
"Free women, incidentally, are seldom permitted to witness dances of the erotic power of the Sa-eela. The major reason for this, interestingly, is not that they might be offended or outraged, but for theor own protection. Many times lovely, young free women, sometimes thinking that they have cleverly disguised themselves, donning male garments, pretending to be boys, thus seeking admission to the dances, find themselves set upon and stripped. Soon, in chains and well ravished, they find themselves as much slaves as the dancer. Perhaps, in their turn, too, they will be taught to dance. On their way to the market they may, if they wish, reflect upon what they, at that time, are likely to regard as their folly. Later, at the feet of a strong man, they may become clearer on the nature of the motivations that took them to such a performance in the first place. They were courting slavery, begging, in their way, for the steel of the collar, pleading to the subject, if they were not pleasing, to the cut of the whip. They had not truly been free women; they had only been, unbeknownst to themselves, slaves in search of masters."
- GUARDSMAN OF GOR, Pg. 264 - 265
Training of a Dancer
The ability to dance before men, in the effort to appear desirable, is instinctual to a woman, though individual skill does vary. Of primary concern is that the motions of the girl be fluid and appealing, enticing to the audience of men.
While it may be instinctual for a woman to dance her need to men, to show her emotions in movements, the refinement of these motions takes training, as does instruction in the basic forms of the various Gorean Slave Dances.
"I moved, warming up, preparing my muscles, I was intent and careful. A dancer, of course, does not simply begin to dance. That can be dangerous. She warms up. It is like an athlete warming up, I suppose."
- DANCER OF GOR, Pg. 25
"It is good for them to get the practice, hearing and seeing men respond to them. That is the way to learn what truly pleases men. In the end, I say, it is men who teach women to dance."
- ASSASSIN OF GOR, Pg. 91
"Any female taken to gor, I suppose, must expect to learn at least the rudiments of slave dance."
- DANCER OF GOR, Pg. 357
"'Such movements, of course,' Glyco was saying, 'are instinctual in a woman.'"
- GUARDSMAN OF GOR, Pg. 260
"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."
- EXPLORERS OF GOR, Pg. 361
"'These women,' said Hermidorus, 'are practicing their floor movements.'
A trainer stood among them, with a whip. Occasionally he would snap this whip near a girl. I did not doubt but what the girls on the tiles, if they were found sufficiently displeasing to the trainer, or too frequently required the admonitory signal of the cracking leather, would soon hear the snap of the lash not in their mere vicinity but on their own bared bodies. Two of the girls, I saw, had stripes on them, one on the thigh, and one on the side. The trainer was not now paying them much attention. They were now, apparently, doing well."
- KAJIRA OF GOR, Pg. 142
"In the latter range of our studies some of the girls were even instructed in the rudiments of what, perhaps for lack of a better word, might be described, using the Earth expression, as 'ethnic dance.' It did not surprise me that the men of this world, who seemed to have such a lust for, and such a relish for, and appreciation of, females, would command such dance of them. I gathered this form of dance was quite common here and that it might be required of any female, or any female of our sort."
- DANCER OF GOR, Pg. 70
"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."
- EXPLORERS OF GOR, Pg. 362
On Dancers
Gorean Slave Dance is a highly popular form of entertainment on Gor. Performances can be advertised far in advance and often draw large crowds.
Street dancers, the most common, perform in alleyways and on busy corners, dancing to onlookers who throw coins in response to what skill she has. Those with promise are usually purchased by private owners or by Paga Taverns.
Dancers in Paga Taverns perform nightly and are can have great influence on the popularity of their owners business. They often must be inquired upon with the Paga Attendant or Tavern Keeper before they may be sexually used, the price for such being negotiated and far more then a common paga slave.
Skilled dancers are much valued for their ability, and the best are often seen as celebrities whose names are widely known.
Ownership of such a girl can bring prestige to a House, and great fame to a Tavern, quickly increasing the business of an establishment.
"The true dancing girl, who has a great aptitude for such matters, and years of experience, is a marvel to behold, for she seems always different, subtle and surprising. Some of these girls, interestingly, are not even particularly beautiful, though in the dance they become so. I expect a great deal has to do with the girl's sensitivity to her audience, with her experience in playing to, and interacting with, different audiences, teasing and delighting them in different ways, making them think suddenly, by contrast, startling them, astonishing them and driving them wild with the madness of their desire for her. Such a girl, after a dance, may snatch up dozens of gold pieces from the sand, putting them in her silk, scurrying back to her master."
- ASSASSIN OF GOR, Pg. 91
"Only too obviously was this a trained dancer, and yet, too, there was far more than training involved. Too, I speak not of such relatively insignificant matters as the mere excellence of her figure for slave dance, as suitable and fitting as it might be for such an art form, for women with many figures can be superb in slave dance, or that she must possess a great natural talent for such a mode of expression, but something much deeper. In the nature of her dance I saw more than training, her figure, and her talent. Within this woman, revealing itself in the dance, in its rhythm, its joy, its spontaneity, its wonders, were untold depths of femaleness, a deep and radical femininity, unabashed and unapologetic, a rejoicing in her sex, a respect of it, a love of it, an acceptance of it and a celebration of it, a wanting of it, and of what she was, a woman, a slave, in all of its marvellousness."
- MAGICIANS OF GOR, Pg. 53 - 54
"As the female by nature has feminine dispositions, needs, instincts and aptitudes, such things being genetically coded within her, functions of her behavioral genetics, as opposed to her property genetics, controlling such matters as eye and hair color, there is a template, or readiness, for self-surrender, service, sensuousness and love within her. These are, of course, familiar aspects of the female slave. Accordingly the readiness for, and the aptitude for, slave dance, so intimately associated with beauty and sexuality, displaying the female in her marvelousness, excitingness and need, scarcely need be noted."
- MAGICIANS OF GOR, Pg. 300
"Dancers have many uses on Gor, both public and private. I suppose this is only to be expected, given the vitality, the masculinity, the strength of Gorean males. Any female taken to gor, I suppose, must expect to learn at least the rudiments of slave dance."
- DANCER OF GOR, Pg. 357
"Actresses need only be actresses. They need not be dancers. But she who is a dancer must be more than a dancer. She must be an actress, as well."
- DANCER OF GOR, Pg. 194
"In the dance I had power. In the dance I was beautiful. I saw delight in the eyes of men."
- DANCER OF GOR, Pg. 193
"Still I was a dancer, and we tend to bring higher prices. We are useful not only in brothels, cabarets, taverns, public pleasure gardens, and such, but wherever there are strong men, wherever there are men who enjoy seeing a woman move before them excitingly, and beautiffully, and as a total female. Indeed, it is said some of the finest and most sensous dancers are private slaves who perform in delicious secrecy, and totally, for a single master."
- DANCER OF GOR, Pg. 357
"Some of us, too, serve as imbonded camp followers, and wll count as part of the loot should the camp fall into enemy hands. Some of us serve, too, in remote army posts, where we are kept to relieve the tedium of the troops. Some, too, of course, as would be expected, serve in the houses of rich men and even in the palaces of Ubars, where we commonly dance for them at their suppers, entertaining them and their guests."
- DANCER OF GOR, Pg. 357
"We, and our uses, of course, may also be rented out for private dinner parties, for banquets and feasts, and such."
- DANCER OF GOR, Pg. 357
"The dancing girls of Port Kar are said to be the best of all Gor. They are sought eagerly in the many cities of the planet. They are slave to the core, viscious, treacherous, cunning, seductive, sensous, dangerous, desirable, excruciatingly desirable."
- RAIDERS OF GOR, Pg. 100
"Then I knew I did not want to dance poorly. Out there were men, real men, many of whom excited and stirred me, even in my virgin's belly. I could scarcely imagine what it might be to be helpless in their arms, and at their power, as a slave. I saw the men, even now, looking at me! I could sense the heat and desire in them. They would not compromise with a woman like me. They 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!"
- DANCER OF GOR, Pg. 192
"The Gorean dancer is expected, usually, to sayisfy the passions she arouses."
- PLAYERS OF GOR, Pg. 26
Dress of a Dancer
The dress of a Gorean Dancer varies with the tone and purpose of the dance itself. She can be clothed in anything from dancing silks and beads, to full costume to better portray the "phases" of the story the song might tell. Her general ornamentation is also selected to both enhance her beauty and to make her more simulating to the audience.
"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."
- TRIBESMEN OF GOR, Pg. 8
"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. 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, Pg. 10 - 11
"I then gave my attention to the dancer, a sweetly hipped black girl in yellow beads."
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Patchwork Merchant Mercenaries had its humble beginnings as an idea of a few artisans and craftsmen who enjoy performing with live steel fighting. As well as a patchwork quilt tent canvas. Most had prior military experience hence the name.
Patchwork Merchant Mercenaries.
Vendertainers that brought many things to a show and are know for helping out where ever they can.
As well as being a place where the older hand made items could be found made by them and enjoyed by all.
We expanded over the years to become well known at what we do. Now we represent over 100 artisans and craftsman that are well known in their venues and some just starting out. Some of their works have been premiered in TV, stage and movies on a regular basis.
Specializing in Medieval, Goth , Stage Film, BDFSM and Practitioner.
Patchwork Merchant Mercenaries a Dept of, Ask For IT was started by artists and former military veterans, and sword fighters, representing over 100 artisans, one who made his living traveling from fair to festival vending medieval wares. The majority of his customers are re-enactors, SCAdians and the like, looking to build their kit with period clothing, feast gear, adornments, etc.
Likewise, it is typical for these history-lovers to peruse the tent (aka mobile store front) and, upon finding something that pleases the eye, ask "Is this period?"
A deceitful query!! This is not a yes or no question. One must have a damn good understanding of European history (at least) from the fall of Rome to the mid-1600's to properly answer. Taking into account, also, the culture in which the querent is dressed is vitally important. You see, though it may be well within medieval period, it would be strange to see a Viking wearing a Caftan...or is it?
After a festival's time of answering weighty questions such as these, I'd sleep like a log! Only a mad man could possibly remember the place and time for each piece of kitchen ware, weaponry, cloth, and chain within a span of 1,000 years!! Surely there must be an easier way, a place where he could post all this knowledge...
Traveling Within The World is meant to be such a place. A place for all of these artists to keep in touch and directly interact with their fellow geeks and re-enactment hobbyists, their clientele.
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