Marine Life
DANCES OF FW
Though there are few dances done by FW, who is to tell what goes on behind closed doors. There are hints and clues of such happening, however in public it's a different story.
Panther Girls, a form of Fw, performed many different dances, most having to do with capture, stalking, etc. you get the idea., as with the Stalking Dance of the Panther Girls:
Then, about me, the panther girls, circling, swaying, began a slow stalking dance, as of hunters. I lay in the center of the circle.
Their movements were slow, and incredibly beautiful. Then suddenly one would cry out and thrust at me with her spear. But the spear was not thrust into my body. Its point would stop before it had administered its wound. Many of the blows would have been mortal. But many thrusts were only to my eyes, or arms and legs. Every bit of me began to feel exposed, threatened. I was their catch.
Then the dance became progressively swifter and wilder, and the feigned blows became more frequent, and then, suddenly, with a wild cry, the swirling throng about me stood for an instant stock still, and then with a cry, each spear thrust down savagely toward my heart.
I cried out.
None of the spears had struck me.
The girls cast aside the spears. Then, like feeding she-panthers they knelt about me, each one, with her hands and tongue, touching and kissing me.
I cried out with anguish.
I knew I could not long resist them.
Hunters Of Gor; Pg. 138
One of my favorite quotes is the following, regarding FW and dance:
. . . even girls who will be free companions, and never slaves, learn the preparation and serving of exotic dishes, the arts of walking, and standing and being beautiful, the care of a man's equipment, the love dances of their city, and so on.
Nomads of Gor , Pg. 63
As you can see in that quote, it mentions "even girls who will be FREE COMPANIONS", and continues on to tell about what they learn, dance being one of them. Even Talena speaks of dances she'd learned while in Ar, in the Walled Gardens where she was kept because she was the daughter of an Ubar, Marlenus..Though the following dance is normally done by a slave...it seems that the FW kept in the Gardens were taught slave dances, I'm guessing in case they were captured. This dance was done in private before Tarl:
"If you wish," she said, "I will dance the Whip Dance for you, or the Chain Dance."
"Then I shall show you a love dance," she said happily, "a dance I learned in the Walled Gardens of Ar."
"I should like that," I said, and, as I watched, Talena performed Ar's strangely beautiful dance of passion.
Tarnsman of Gor, pg. 135.
Other quotes in regards to FW and dance are as follows, both from Guardsman of Gor:
"A familiar bit of advice given by bold Gorean physicians to free women who consult them about their frigidity is, to their scandal, "Learn slave dance." Another bit of advice, usually given to a free woman being ushered out of his office by a physician impatient with her imaginary ailments is, "Become a slave." Frigidity, of course, is not accepted in slaves. If nothing else, it will be beaten out of their beautiful hides by whips." — Guardsman of Gor, Pg. 260.
------
TILE DANCE
Explorers of Gor Page 13
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.
------
FOUR CHAINS DANCE
Explorers of Gor Page 42
...His girls served nude and chained. Each ankle and wrist ring had two staples. Each girl's wrists were
joined by about eighteen inches of chain and similarly for her ankles. Further each girl's left wrist was
chained to her ankle and her right wrist to her right ankle. This arrangement, lovely on a girl, produces the
"four chains," from which the establishment took its name. The four-chain chaining arrangement, of
course, and variations upon it, is well known upon gor. Four other paga taverns in Port Kar alone used it.
-----
BEAD DANCE
Explorers of Gor Page 133
She was skillful and, I suspected, from the use of the hands and beads, had been trained in Ianda, a
merchant island north of Anango. Certain figures are formed with the hands and beads which have
symbolic meaning, much of which was lost upon me, as I was not familiar with the conventions involved.
Some, however, I had seen before, and had been explained to me. One was that of the free woman,
another of the whip, another of the yielding, collared slave. Another was that of the thieving slave girl, and
another of the girl summoned, terrified, before the master. Each of these, with the music and followed by
its dance expression, was very well done. Women are beautiful and they make fantastic dancers. One of
the figures done was that of a girl, a slave, who encounters one who is afflicted with plague. She, a slave,
knows that if she should contract the disease she would, in all probability, be summarily slain. She dances
her terror at this. This was followed by the figure of obedience, and that by the figure of joy.
-----
BRAND DANCE
Nomads of Gor Page 147
Already a large, curtained enclosure had been set up near the slave wagon. For a fee, the proprietor of the wagon would permit visitors. These arrangements irritated me somewhat, for customarily the chain dance, the whip dance, the love dance of the newly collared slave girl, the brand dance, and so on, are performed openly by firelight in the evening, for the delight of any who care to watch. Indeed, in the spring, with the results of caravan raids already accumulating, it is a rare night on which one cannot see one or more such dances performed. I gathered that the little wench from Port Kar must be superb. Kamchak, not a man to part easily with a tarn disk, had apparently received inside word on the matter.
------
BELT DANCE
Assassin of Gor page 185
"I observed Phyllis Robertson performing the belt dance, on love furs spread between the tables, under the eyes of the Warriors of Cernus and the members of his staff.Beside me Ho-Tu was shoveling porridge into his mouth with a horn spoon. Themusic was wild, a melody of the delta of the Vosk. The belt dance is a dance developed and made famous by Port Kar dancing girls. Cernus, as usual, wasengaged in a game with Caprus, and had eyes only for the board. The belt dance is performed with a Warrior. She now writhed on the furs at his feet, moving as thoughbeing struck with a whip. A white silken cord had been knotted about her waist; inthis cord was thrust a narrow rectangle of white silk, perhaps about two feet long. Phyllis Robertson now lay on her back, and then her side, and then turned and rolled, drawing up her legs, putting her hands before her face, as though fending blows, her face a mask of pain, of fear. The music became wilder. 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. The music now became a moan of surrender, and the girl was on her knees, her head down, her hands on the ankle of the Warrior, his sandal lost in the unbound darkness of her hair, her lips to his foot. In the next phases of the dance the girl knows herself the Warrior's, and endeavors to please him, but he is difficult to move, and her efforts, with the music, become ever more frenzied and desperate. The belt dance was now moving to its climax and I turned to watch Phyllis Robertson. Under the torchlight Phyllis Robertson was now on her knees, the Warrior at her side, holdingher behind the small of the back. Her head went farther back, as her hands movedon the arms of the Warrior, as though once to press him away, and then again to draw him closer, and her head then touched the furs, her body a cruel, helpless bowin his hands, and then, her head down, it seemed she struggled and her body straightened itself until she lay, save for her head and heels, on his hands clasped behind her back, her arms extended over her head to the fur behind her. At this point, with a clash of cymbals, both dancers remained immobile. Then, after this instant of silence under the torches, the music struck the final note, with a mighty and jarring clash of cymbals, and the Warrior had lowered her to the furs and her lips, arms about his neck, sought his with eagerness. Then, both dancers broke apart and the male stepped back, and Phyllis now stood, alone on the furs, sweating,breathing deeply, head down."
------
CHAIN DANCE
Nomads of Gor page 159
"The figure of the woman, swathed in black, heavily veiled, descended the steps of the slave wagon. Once at the foot of the stairs she stopped and stood for a long moment. Then the musicians began, the hand-drums first, a rhythm of heartbeat and flight. To the music, beautifully, it seemed the frightened figure ran first here and then there, occasionally avoiding imaginary objects or throwing up her arms, ran as though through the crowds of a burning city-alone, yet somehow suggesting the presence about her of hunted others. Now, in the background, scarcely to be seen,was the figure of a warrior in scarlet cape. He, too, in his way, though hardly seeming to move, approached, and it seemed that wherever the girl might flee therewas found the warrior. And then at last his hand was upon her shoulder and she threw back her head and lifted her hands and it seemed her entire body was wretchedness and despair. He turned the figure to him and, with both hands, brushed away hood and veil. There was a cry of delight from the crowd. The girl's face was fixed in the dancer's stylized moan of terror, but she was beautiful. I had seen her before, of course, as had Kamchak, but it was startling still to see her thus in the firelight-her hair was long and silken black, her eyes dark, the color of her skin tannish. She seemed to plead with the warrior but he did not move. She seemed to writhe in misery and try to escape his grip but she did not. Then he removed his hands from her shoulders and, as the crowd cried out, she sank in abject misery athis feet and performed the ceremony of submission, kneeling, lowering the head and lifting and extending the arms, wrists crossed. The warrior then turned from her and held out one hand. Someone from the darkness threw him, coiled, the chain and collar. He gestured for the woman to rise and she did so and stood before him, head lowered. He pushed up her head and then, with a click that could be heard throughout the enclosure, closed the collar-a Turian collar-about her throat. The chain to which the collar was attached was a good deal longer than that of the Sirik, containing perhaps twenty feet of length. Then, to the music, the girl seemed to twist and turn and move away from him, as he played out the chain, until she stood wretched some twenty feet from him at the chain's length. She did not move then for a moment, but stood crouched down, her hands on the chain. I saw that Aphris and Elizabeth were watching fascinated. Kamchak, too, would not take his eyes from the woman. The music had stopped. Then with a suddenness that almost made me jump and the crowd cry out with delight the music began again but this time as a barbaric cry of rebellion and rage and the wench from Port Kar was suddenly a chained she-larl biting and tearing at the chain and she had cast her black robes from her and stood savage revealed in diaphanous, swirling yellow Pleasure Silk. There was now a frenzy and hatred in the dance, a fury even to the baring of teeth and snarling. She turned within the collar, as the Turian collar is designed to permit. She circled the warrior like a captive moon to his imprisoning scarlet sun, always at the length of the chain. Then he would take up a fist of chain, drawing her each time inches closer. At times he would permit her to draw back again, but never to the full length of the chain, and each time he permitted her to withdraw, it was less than the last. The dance consists of several phases, depending on the general orbit allowed the girl by the chain. Certain of these phases are very slow, in which there is almost no movement, save perhaps the turning of a head or the movement of a hand; others are defiant and swift; some are graceful and pleading; each time, as the common thread, she is drawn closer to the capped warrior. At last his fist was within the Turian collar itself and he drew the girl, piteous and exhausted, to his lips, subduing her with his kiss, and then her arms were about his neck and unresisting, obedient,her head to his chest, she was lifted lightly in his arms and carried from the firelight."
------
DANCE OF BEAUTY
Tribesmen of Gor page 25
"All eyes were on the dark-haired dancer, the skirt of diaphanous scarlet dancing silk low upon her hips. Her hands moved as though she might be, starved with desire,picking flowers from a wall in a garden. One saw almost the vines from which she plucked them, and how she held them to her lips, and, at times, seemed to press herself against the wall which confined her. Then she turned and, as though alone,danced her need before the men. I idly observed the dancer. Her eyes were on me. It seemed, in her hands, she held ripe fruits for me, lush larma, fresh picked. Her wrists were close together, as though confined by the links of slave bracelets. She touched the imaginary larma to her body, caressing her swaying beauty with it, andthen, eyes piteous, held her hands forth, as though begging me to accept the lush fruit. Men at the table clapped their hands on the wood, and looked at me. Others smote their left shoulders. I smiled. On Gor, the female slave, desiring her master,yet sometimes fearing to speak to him, frightened that she may be struck, has recourse upon occasion to certain devices, the meaning of which is generally established and culturally well understood...to kneel before the master and put herhead down and lift her arms, offering him fruit, usually a larma, or a yellow Gorean peach, ripe and fresh. Even a slave girl who hates her master but, incidentally, may use these devices! whose body, trained to love, cannot endure the absence of themasculine caress. Such girls, even with hatred, may offer the larma, furious with themselves, yet helpless, the captive of their slave needs, forced to beg on their knees for the touch of a harsh master, who revels in the sport of their plight. They are slaves. The girl now knelt before me, her body obedient still trembling, throbbing, to the melodious, sensual command of the music. I looked into the cupped hands, held toward me. They might have been linked in slave bracelets.They might have held lush larma. I reached across the table and took her in my arms, and dragged her, turning her, and threw her on her back on the table before me. I lifted her to me, and thrust my lips to hers, crushing her slave lips beneath mine. Her eyes shone. I held her from me. She lifted her lips to mine. I did not permit her to touch me. I jerked her to her feet and, half turning her, ripping her silk from her, hurled her to the map floor, where she half lay, half crouched, one leg beneath her, looking at me, stripped save for her collar, the brand, the armlets, bells, the anklets, with fury. "Please us more," I told her. Her eyes blazed. "And do not rise from the floor, Slave," I told her. The music, which had stopped, began again. She turned furiously, yet gracefully, extending a leg, touching an ankle, moving her hands up her leg, looking at me over her shoulder, and then rolled, and writhed, as though beneath the lash of master. The dancer now lay on her back and the music was visible in her breathing, and in small movements of her head, and hands. Her hands were small and lovely. She lay on the map floor, her head turned toward us. She was covered with sweat. I snapped my fingers and her legs turned under her, and she was kneeling, head back, dark hair on the tiles. Her hands moved, delicate, lovely. Slowly, if permitted, she would rise to an erect kneeling position; her hands, as she lifted herself, extended toward us. Four times said I "No," each time my command forcing her head back, her body bent, to the floor, and each time, again, to the music, she lifted her body. The fifth time I let her rise to an erect kneeling position. The last portion of her body to rise was her beautiful head. The collar was at her throat. Her dark eyes, smoldering, vulnerable, reproachful, regarded me. Still did she move to the music, which had not yet released her. With a gesture I permitted her to rise to her feet. "Dance your body, Slave," I told her, "to the guests of Samos." Angrily the girl, man by man, slowly, meaningfully, danced her beauty to each guest. They struck the tables, and cried out. More than one reached to clutch her but each time, swiftly, she moved back. The dancer, now behind us, continued to move before the low tables.The eyes of the men gleamed. Before each man, for moments seemingly his alone, she danced her beauty. The dancer turned from the tables and, hands high over her head, approached me. She swayed to the music before me. "You commanded me to dance my beauty for the guests of Samos," said she, "Master. You, too, are such a guest." I looked upon her, narrow lidded, as she strove to please me. Then she moaned and turned away, and, as the music swirled to its maddened, frenzied climax, she spun, whirling, in a jangle of bells and clashing barbaric ornaments before the guests of Samos. then, as the music suddenly stopped, she fell to the floor, helpless, vulnerable, a female slave. Her body, under the torchlight, shone with a sheen of sweat. She gasped for breath; her body was beautiful, her breasts lifting and falling, as she drank deeply of the air. Her lips were parted. Now that her dance was finished she could scarcely move. We had not been gentle with her. She looked up at me, and lifted her hand. It was at my feet she lay."
-----
DRUM DANCE
Beasts of Gor Page 165
"I have not seen the performance of the Drum Dance in four moons" he said."
------
MAT DANCE
Mercenaries of Gor page 370
"Use the chain," I said. "It is on your neck. Use it! Use it in this mat dance."
"Dance?" she wept.
"Yes," I said, "you can consider it a dance. You can treat it as a dance. You are writhing for a master, pausing now and then to startle him with your beauty, on your chain. There is even music here. Feel it in your belly. Deep in your belly! Deeper! Yes! Yes!"
------
PLACATORY DANCE
Dancer of Gor pages 332-235
“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 form of placatory dance is usually taught to the girl in slave training. There is no telling when it might be needed. Though I had had, because of the relatively advanced state of my dancing skills, for a new slave, very little instruction in dance in the house of my first training, I had been taught at least that much. The form of placatory dance taught to a girl usually depends on the girl in question. For example, I had not been taught the stately ‘Contrition Dance’ of Turia. It had been felt that the nature of my body lent itself to a more desperate, needful, lascivious form of dance. I had been taught how to dance on my knees, for example, and, supplicatingly, on my back, and belly. 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, doing her best to assuage his anger and beg his forgiveness, to reassure him of the authenticity of her contrition and the genuineness of her desire to do better.”
------
BELT DANCE
Assassin of Gor
Raiders of Gor
CAPTURE DANCE
Dancer of Gor
CHAIN DANCE
Tarnsman of Gor
Nomads of Gor
CIRCLE DANCE
Guardsman of Gor
COLLAR DANCE
Assassin of Gor
CONTRITION DANCE
Dancer of Gor
DANCE OF BEGGING SLAVES
Mariners of Gor
DANCE OF THE NETTED SLAVE
Vagabonds of Gor
DANCE OF THE RENCE GIRLS
Raiders of Gor
DANCE OF THE SIX THONGS
Raiders of Gor
DANCE OF THE TUCHUK SLAVE
Nomads of Gor
DISPLAY DANCE
Fighting Slave of Gor
DRUM DANCE
Beasts of Gor
FLOWER DANCE OF THE FREE MAIDEN
Mariners of Gor
HATE DANCE
Fighting Slave of Gor
HUNT DANCE
Dancer of Gor
LEASH DANCE
Kajira of Gor
LOVE DANCE
Tarnsman of Gor
Nomads of Gor
Raiders of Gor
NEED DANCE
Rogue of Gor
PASSION DANCE OF THE NUDE SLAVE GIRL
Marauders of Gor
POLE DANCE
Kajira of Gor
REBELLION DANCE
Fighting Slave of Gor
SA-EELA
Guardsman of Gor
STALKING DANCE
Hunters of Gor
SUBMISSION DANCE
Dancer of Gor
TARNSMAN'S FIRST MISSION VICTORY DANCE
Rebels of Gor
TETHER DANCE
Explorers of Gor
TILE DANCE
Explorers of Gor
VIRGIN DANCE
Dancer of Gor
WHIP DANCE
Kajira of Gor
Rogue of Gor
Tarnsman of Gor
Raiders of Gor
DANCES PERFORMED, NO NAMES MENTIONED
Captive of Gor
Tribesmen of Gor
Beasts of Gor
Explorers of Gor
Fighting Slave of Gor
Blood Brothers of Gor
Players of Gor
Magicians of Gor
Belt Dance on page 106 of Raiders of Gor and page 185. Assassin of Gor
Chain Dance on page 148 of Nomads of Gor and Pg. 135 of Tarnsman of Gor
Dance of the Six Thongs on page 228 of Raiders of Gor
Drum Dance on page 165 of Beasts of Gor
Leash Dance on page 337 of Kajira of Gor
Love Dance on page 135 of Tarnsman of Gor
Love Dance of the Newly Collared Slave Girl on page 115 of Raiders of Gor
Need Dance on page 185 of Rogue of Gor
Pole Dance on page 141 of Kajira of Gor
Sa-eela on page 260 of Guardsman of Gor
Savage Love Dances of the Wagon Peoples on page 99 of Nomads of Gor
Stalking Dance of the Panther Girls on pages 138 and 198 of Hunters of Gor
Tether Dance on page 361 of Explorers of Gor
Tile Dance on page 13 of Explorers of Gor
Whip Dance on page 135 of Tarnsman of Gor and page 160 of Kajira of Gor, page 100 Raiders of Gor, page 191 of Rogue of Gor
|
|
|
|
