Type of gorean slave-dances.
The following is a clearly non-exhaustive list of the various forms of Gorean slave dance. For many of them, the player who wants to dance the dance will have to invent and interpret the dance method, the staging and the subject matter, the story of the dance. So, don’t hesitate to imagine and invent on the basis of the themes of these dances, while respecting both the way a slave dance is constructed and the primary raison d’être of these dances.
Note: not all slaves know these dances, but the most emblematic and therefore best-known are marked with a star. Even free women, especially in the upper castes, have often been initiated into the codes of these dances, in the event that one day their survival depends on their ability to dance in front of the man who has enslaved them.
Belt Dance
This dance, rarely performed in public, originated in Port-Kar. It is performed on love furs, usually for a warrior. It takes its name from the basic principle that the girl is not supposed, during her dance, to rise above the warrior’s belt. Throughout the dance, the dancer will never stand up, so it consists mainly of movements on the ground. The phases of this dance describe the girl who recognizes that she is the warrior’s slave and tries to please him. He will stay away from her, and her efforts will become increasingly desperate. At the climax of the dance, the girl will be on her knees, begging him. Eventually, the warrior will join her at her side, grasping her back. The kajira will then lean back, arching, offered, until her head touches the furs, then the warrior will stretch her out. They finish the dance with a kiss.
* Chain dance
The kajira, on the dance floor, is tied by a length of chain held by a free person (not necessarily a man) and will use it in a dance for whose purpose is to show everyone her submission and joy at being a slave. The chain will generally be wrapped around her body during the various phases of the dance. At first, she will fight against it and her fate as a slave, then, in a second phase, she will confess her submission, knowing her destiny as a slave, and accept her servitude because of her desire and the fire burning in her belly. In the end, she’ll enjoy feeling the prison of the chain around her body, and her slave heart.
* Dance of the six thongs
This dance is always about capture and submission. The girl has 6 leather straps attached to her body: ankles, wrists, stomach and neck. The dance begins with her capture and the story of her rebellion and struggle. She will show her defiance until she is subdued by the masters who hold her. At the climax of the dance, the young girl is presented to a master, who asks her if she is a slave (Goreans know this dance, so of course they play along!) to whom she proudly proclaims, “la kajira!” (I am a slave, in Gorean) thus ending the dance in a posture of submission. It’s not uncommon for spectators to grab the dancer’s straps as she dances, pulling on them or holding them tightly, to force her to follow their gestures as she dances.
* Slave dance
This is the freest form of dance and takes whatever style the girl chooses to dance it. The subject is that of the newly enslaved or bought slave, shy and timid, expressing her fear and dread as she tries to escape her master. Then she is captured and subjected to his anger and authority. Her fear then turns to submission under the yoke of her new master, whom she accepts with love and serenity as she discovers her own slave heart, eventually doing everything to please him. Often, during the dance, the master, who is one of the spectators, will attach a leash to the slave’s neck, so that she can publicly perform the final scene of her submission.
* New collar dance
Little described, but apparently also very free in its style, this is a dance asked of the new slave, who will then recount, in her always erotic and suppliant dance, her burning desire and joy at soon being invited into her master’s arms or furs.
Dance of need
This highly erotic dance is theoretically performed in five scenes. In the first part, the enslaved girl feigns indifference to her situation. In the second, she slowly becomes aware of the burning desires inside her and mentally struggles to deny them. In the third stage, the girl will openly express her desire and will to please the masters she dances for, doubting her own worth and ability to please, evident in her movements, both graceful and timid. In the fourth stage, the girl will blatantly expose herself, showing the warmth of her body and the need to be taken. In the fifth and final stage, the girl openly begs the audience to be used, something she needs to feel complete.
Pillar dance
Another highly erotic dance, this one is danced around the chosen master, or around a pole (pole dance), and aims above all to attract the master’s attention and favors, sexually by playing consecutively with attractions and refusals, brushing against him, attracting him and fleeing from him, in a particularly sensual game of seduction.
* Sa-eela dance
The term Sa-eela is difficult to translate, but can be interpreted as “hunger for slave fire”, basically, the desire to be used sexually. The common theme of the genre is, of course, the attempt by a neglected slave to attract the attention of her master. The Sa-eela, usually performed naked, free of all restraints except the collar, is one of Gor’s most powerful, intimate and emotional dances. This is because each girl brings to the dance her own nature, her own disposition, her own sensuality and needs, her own personality… For the dancer, the Sa-eela dance is a unique, personal and creative art form. What’s more, it offers her a marvellously intimate means of self-expression…
* Scarf dance (or service dance)
This is a tavern dance, fairly simple and not very codified. It is danced with a drink, often ka-la-na, prepared in advance, and with scarves hanging from the neck, heel, breasts, ankles and wrists, forming a costume that spectators can strip off as they wish. The dance recounts a joyous seduction and submission, the final goal of which is to offer the drink in a particularly erotic service.
* Submission dance
Very similar to the Sa-eela dance, but can be danced in any outfit, and is always performed for the girl’s owner. Its style is very free: each dance is different and unique according to the slave and her master, whom she knows well, as the dance is a way of reminding her owner of her submission. This can be done in many ways, from the kajira who will dance with her hands running over her own body, throbbing, to arouse her master’s lust, to the girl who dances writhing with desire and submits to his feet. In short, it’s a highly individualized demonstration of a slave’s profound submission to her master.
Dance of the bonds
This dance is similar in some respects to the six-strap dance and the pillar dance. The girl is tied to a peg, and will usually recount her struggle to fight her situation, or give in to it and love her position, usually consecutively. In the dance, the tether is used to caress her.
* Virgin dance
Sparsely described and barely hinted at in the novels, this dance is never performed in a tavern. The dancer may or may not be a real virgin. In the first case, it’s the master who’s about to deflower her who demands the dance; in the second, it’s a freer dance chosen by the slave or masters for entertainment. The dance doesn’t tell a story, but all the emotions – fear, doubt, dread, curiosity, desire – of the virgin about to be offered to a master. She can recount her emotions in a very gentle way, as she awaits this moment, or in a very cruel way, as she knows that her first time will be a rough and painful rape.
* Whip dance
This dance requires the participation of a master, who will crack the whip over and around the girl as she dances. The most playful or cruel masters won’t hesitate to caress the girl’s body hard with the whip, even if it means streaking her with red marks. But no one will hit the girl so hard as to really hurt her. Still, it’s a dance that scares the bejesus out of the dancers who are asked to perform it, unless they have complete and blind faith in their master. The dance recounts the different phases of the kajira’s fear of punishment, but also of her submission, from her attraction to the biting kiss of leather, the passion of her slave heart, and her fear of punishment as well as her pleasure in enduring the whip.
