- DANCER OF GOR, Pg. 193
"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
"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