Newly Collared Slave Dance

Dance Criteria

There really is no certain criteria for this dance. It’s up to the individual dancer to express her joy with her new collar.

LOVE DANCE OF THE NEWLY COLLARED SLAVE GIRL

I turned to the musicians. “Do you know,” I asked, “the Love Dance of the Newly Collared Slave Girl?”

“Port Kar’s?” asked the leader of the musicians.

“Yes” I said.

“Of course,” said he.

I had purchased more than marking and collars at the smithy.

“On your feet,” boomed Thurnock to Thura, and she leaped frightened to her feet, standing ankle deep in the thick pile rug.

At a gesture from Clitus, Ula, too, leaped to her feet.

I put ankle rings on Midice, and then slave bracelets. And tore from her the bit of silk she wore. She looked at me with terror.

I lifted her to her feet, and stood before her.

“Play,” I told the musicians.

The Love Dance of the Newly Collared Slave Girl has many variations, in the different cities 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.

The musicians began to play, and to the clappings and cries of Thurnock and Clitus, Thura and Ula danced before them.

“Dance,” said I to Midice.

In terror the dark-haired girl, lithe, tears in her eyes, she so marvelously legged, lifted her wrists.

Now again Midice danced, her ankles in delicious proximity and wrists lifted again together back to back above her head, palms out. But this time her ankles were not as though chained, nor her wrists as though braceleted; rather they were truly chained and braceleted; she wore the linked ankle rings, the three-linked slave bracelets of a Gorean master; and I did not think she would now conclude her dance by spitting upon me and whirling away.

She trembled. “Find me pleasing,” she begged.

“Do not afflict her so,” said Telima to me.

“Go to the kitchen,” said I, “Kettle Slave.”

Telima turned and, in the stained tunic of rep-cloth, left the room, as she had been commanded.

The music grew more wild.

“Where now,” I demanded of Midice, “is your insolence, your contempt!”

“Be kind!” she cried. “Be kind to Midice!”

The music grew even more wild.

And then Ula, boldly before Clitus, tore from her own body the silk she wore and danced, her arms extended to him.

He leaped to his feet and carried her from the room.

I laughed.

Then Thura, to my amazement, though a rence girl, dancing, revealed herself similarly to the great Thurnock, he only of the peasants, and he, with a great laugh, swept her from her feet and carried her from the room.

“Do I dance for my life?” begged Midice.

I drew the Gorean blade. “Yes,” I said, “you do.”

And she danced superbly for me, every fiber of her beautiful body straining to please me, her eyes, each instant, pleading. trying to read in mine her fate. At last, when she could dance no more, she fell at my feet, and put her head to my sandals.

“Find me pleasing,” she begged. “Find me pleasing, my Master!”

I had had my sport.

Raiders of Gor, pages. 115-117

AR’S DANCE OF THE NEWLY COLLARED SLAVE GIRL

The auctioneer signaled to the Musicians again and once more, to the shouts of the crowd, while he held open his hand, not yet closing it, taking bids, the girls performed the last moments of Ar’s dance of the newly collared slave girl, who dances her joy at the thought that she will soon be in the arms of a strong master. When the dance ended the three girls, slaves, knelt in the position of submission, back on their heels, arms extended, heads lowered, wrists crossed as though for binding; Elizabeth knelt facing the crowd and, perpendicular to her, on her left and right knelt Virginia and Phyllis, a vulnerable, submitted flower of slave girls.

Assassins of Gor, page 308

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