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#Post#: 351--------------------------------------------------
Dancing
By: kharma Date: March 10, 2014, 11:48 am
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Types of dances
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Belt Dance
"The belt dance is a dance developed and made famous by Port Kar
dancing girls." "The belt dance is performed with a Warrior. She
now writhed on the furs at his feet, moving as though being
struck with a whip. A white silken cord had been knotted about
her waist; in this cord was thrust a narrow rectangle of white
silk, perhaps about two feet long...." "The dance receives its
name from the fact that the girl's head is not suppose to rise
above the Warrior's belt, but only purists concern themselves
with such niceties; wherever the dance is performed, however, it
is imperative that the girl never rise to her feet."
"Assassin of Gor" p. 185
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Chain Dance A girl is chained to a stake by a warrior with the
chain interwoven from the ko-lar of her neck through the wrists
and down to her ankle cuffs by ten feet of play between the
slave and the driven stake. The slave dances to show her
submission and joy of being a slave. The chain wraps around her
and she writhes and fights at first, and fights wildly, but she
eventually she submits because of her desire and the fire within
her belly. In the end, she shows her joy at feeling the
confinement of the chain around her slaveheart.
"Nomads of Gor" p. 159
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Dance of the 6 Thongs The girl has 6 leather thongs attached to
her body: (ankles,wrists, belly, and neck) She dances as a girl
who is captured. She will show her defiance and bewilderment at
not being able to move freely, the dance growing more frenzied
until she is subdued by the Masters that hold her. The girl is
thenpresented to one Master, who asks her if she is slave, to
which she will proudly say that she is.
"Raiders of Gor" p. 228
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Love Dance of a Newly Collared Slave "The Love Dance of the
Newly Collared Slave Girl has many variations, in the different
citied of Gor, but the common theme is that the girl dances her
joy that she will soon lie in the arms of a strong master."
"Raiders of Gor Book" p. 115
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Need Dance "There are usually five phases to such a dance. In
the first phase the girl, dancing, feigns indifference to the
presence of men, before whom, as a slave, she must perform. In
the second phase,for she has not yet been raped, her distress
and uneasiness, her restlessness, her disturbance by her sexual
urges, must become subtly more manifest. Here it must be evident
that she is beginning to feel her sexuality, and drives,
profoundly, and yet is struggling against them. Toward the end
of this phase it must beome clear not only that she has sexual
needs, and deep ones, but that she is beginning to fear that she
may not be, simply as she is, of sufficient interest to men to
obtain their satisfaction. Here, need, coupled with anxiety and
self-doubt, for she has not yet been seized by strong men, must
become clear. In the third phase of the dance she, in an almost
ladylike fashion, acknowledges herself defeated in her attempt
to conceal her sexuality; she then, again in an almost ladylike
fashion, delicately but clearly, with restraint but
unmistakably, acknowledges, and publicly, before masters, that
she has sexual needs. Then, with smiles, and gestures,
displaying herself, she makes manifest her readiness for the
service of men, her willingness, and her receptivity. She
invited them, so to speak to have her. But she has not yet been
seized by an arm or an ankle, or by her collar, a thumb hooked
rudely under it, or hair, and pulled from the floor. What if she
is not sufficiently pleasing? What if she is not to be
fulfilled? What if she must continue to dance, alone, unnoticed.
At this point it becomes clear to her that it is by no means a
foregone conclusion that men will find her of interest, or that
they will see fit to satisy her. She must strive to be pleasing.
If she is not good enough she may be chained, unfilfilled,
another night alone in the kennel. There are always other girls.
She must earn her rape. Too, if she should be insufficiently
pleasing consistently it is likely that she will be slain.
goreans place few impediments in the way of liberation of a
slave female's sexuality. In this fourth phaseof the dance,
then, shamelessly the woman dances her need and, shamelessly,
begs for her sexual satisfaction. The phase of the dance is
sometimes known as the Heat of the Collared She-Sleen. The
fifth, and final phase, of the dance, is far more dramatic and
exciting. In this phase the girl, overcome by sexual desire and
terrified that she may not be found sufficiently pleasing,
clearly manifests, and utterly, that she is a slave female. In
this portion of the dance the girl is seldom on her feet.
Rather, sitting, rolling, and changing position, on her side,
her back, her belly, half kneeling, half sitting, kneeling,
crawling, reaching out, bending backwards, lying down, twisting
with passion, gesturing to her body, presenting it to masters
for their inspection and interest, whimpering, moaning, crying
out, brazenly presenting herself as a slave, pleading for her
rape, she writhes, a piteous, begging, vulnerable, ready slave,
a woman fit for and begging for the touch of a master, a woman
begging to become, at the least touch of her master, a totally
submitted slave. The fourth phase of the dance, as I have
mentioned, is sometimes known as the Heat of the Collared
She-Sleen. This portion of the dance, the fifth portion, is
sometimes known as the Heat of the Slave Girl..."
"Rogue of Gor" p. 185
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Placatory Dance "There are many forms of placatory dances which
are performed by female slaves. Some of these tend to have
rather fixed forms, sanctioned by custom and tradition, such as
the stately 'Contrition Dance' of Turia. Some sort of placatory
dance is usually taught to the girl in slave training." "Most
placatory dances, however, are not fixed-form dances, but are
'free' dances, in which the slave, exquisitely alert to the
nuances of the situation, the particular master, the nature of
his displeasure, the gravity of her offense, and such,
improvises, to reassure him of the authenticity of her
contrition and the genuineness of her desire to do better."
"Dancer of Gor" p. 332
-----
Pole Dance The slave will attempt to arouse and entice the pole
or "Master" with erotic movements that involve her touching and
caressing "Him" (the pole), beckoning her use by "Him". This
dance can be done either by securing her to the pole or she may
remain free from the pole, swirling around in frantic and heated
movements.
"Blood Brothers of Gor" p. 39
-----
Sa-eela "The Sa-eela is one of the most moving, deeply rhythmic
and erotic of the slaves dances of Gor. It belongs, generally to
the genre of dances commonly known as the Lure Dances of the
Love-Starved Slave Girl. The common theme of the genre, of
course, is the attempt on the part of a neglected slave to call
herself to the attention of the master. The Sa-eela, usually
performed in the nude, as though by a low slave, and by a girl
freed of all impediments except her collar, is one of the most
powerful of slave dances of Gor. It is done rather differently
in different cities but the variations practiced in the river
towns and, generally in the Vosk basin, are in my opinion, among
the finest."
"Guardsman of Gor" p. 259
-----
Seduction Dance The name of the dance is fairly
self-explanitory, in this dance the slave tries to seduce a
Master, perhpas even to get him to buy her.
"Tribesmen of Gor" p. 101
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Serving (Scarf or Veil) Dance Performed using ribbons or scarves
as a form of enticement for the Master. The girl will offer to
serve the Master in a most exciting manner. She typically wears
a costume of scarves or uses a ribbon to arouse both herself and
the Master. Falling to her knees, she may offer a lustful serve
of ka-la-na.
"Tribesman of Gor" p. 13
Submission Dance 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" p. 190
-----
Tether Dance "I jerked the tether at her throat.'This is a
tether,' Isaid. 'It is to be well incorporated in your dance.
You are a tethered slave. Do not forget it. You may fight the
tether, you may love it. It may confine your body, you may use
it to caress your body, an invitation to your master, a
surrogate symbol of his domination of you. You need not dance
always on your feet. A woman can dance beautifully on her
knees,moving as little as a hand, or on her back, or belly or
side. In all things do not forget you are a slave.'"
"Explorers of Gor" p. 360
-----
Tile Dance "The tile dance is commonly performed on red tiles,
usually beneath the slave ring of the master's couch. The girl
performs the dance on her back, her stomach and sides. Usually
her neck is chained to the slave ring. The dance signifies the
restlessness, the misery, of a love-starved slave girl. It is a
premise of the dance that the girl moves and twists, and
squirms, in her need, as if she is completely alone, as if her
need is known only to herself; then, supposedly, the master
surprises her, and she attempts to suppress the helplessness and
torment of her needs; then, failing this, surrendering her pride
in its final shred, she writhes openly, piteously, before him,
begging him to deign to touch her. Needless to say, the entire
dance is observed by the master, and this, in fact, of course,
is known to both the dancer and her audience, the master. The
tile dance, for simple psychological and behavioral reasons,
having to do with the submission context and the motions of the
body, can piteously arouse even a captured, cold free woman; in
the case of a slave, of course, it can make her scream and sob
with need."
"Explorers of Gor" p. 13
-----
Tuchuk slave love dance The rather savage and wild dance of the
slaves of the Wagon People done with much savagery and
seduction.
"Nomads of Gor Book" p. 98
-----
Whip Dance "...In the whip dance, though there are various
versions of it, depending on the locality, the girl is almost
never struck with the whip, unless, of course, she does not
perform well. When the whip is cracked, however, the girl will
commonly react as though she has been struck. this, conjoined
with the music, and her beauty, and the obvious symbolism of her
beauty beneath total male descipline, can be extremely,
powerfully erotic. In an elegant, civilized context, one of
beauty and music, it makes clear and bespeaks the raw and
essential primitives of the ancient, genetic, biological sexual
realtionship of men and women.... "
"Rogue of Gor" p. 191
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