Types and Styles of Gorean Dance

Click on each type of dance below for more information about that dance.


  1. Dance of the Six Thongs – Held by six thongs attached to her body. Two to her waist, One on each wrist and ankle, held by six men. As the music starts the girl unaware of her predicament would move as if free, just to find out her movement are being controlled by an invisible force. Upon realizing this the girl would fight the thongs, furiously and savagely. Her fear would mount as less and less movement is permitted. As the dance continue, the men get closer and closer till she is captured, bound left on the floor.
  2. Tether or Chain Dance – This dance is similar in some ways to the dance of the six thongs and the pole dance. The girl is tethered to a slave stake. She may then either fight the tether or love it. The tether may confine her body or caress it. The girl may also incorporate the slave stake in her dance so it becomes similar to a pole dance as well.
  3. Newly Collared Slave Dance – There are many variations of this dance and most cities have their own version. The basic theme of this dance is that a girl dances with joy that she will soon lie in the arms of her strong master.
  4. Dance of the Tuchuk Slave Girl – This dance is done by the slave girls of the Tuchuks, a tribe of the Wagon Peoples. Little description of this dance is given unfortunately. Most of these dances are performed at night, openly by firelight.
  5. Dance of the Earth Girl – In this dance a girl would use the limited resources of Gor to imitate Earthen clothes, the room would be made to be cozy and the music soft. A girl would also bound her hair earth, as she would as on earth, maybe in a tight bun. The point would be that the girl is to undress herself while dancing, ridding herself of her earthen ways. Movements are always graceful and flowing in this dance, no sudden movements, a girl submits at the end to her Master.
  6. Chain dance (AKA Capture Dance) – Starting heavily hooded, seemingly trying to evade capture. A Warrior would appear, after much useless fleeing, she is captured. She would plead her freedom, but her hood brushed aside by her Captor. He collars her, then left with approximately twenty feet of chain, a girl rebels furiously to having been collared. Fighting the chain as the warrior brings her in closer, some phases longer then the other till she is in his grasp as she submits fully to her Masters kiss. Chain dances also are dances performed with a length of chain with which the slave dances.
  7. Belt Dance – This dance was developed and made famous by Port Kar dancing girls. It is performed on love furs with a Warrior. It receives its name from the basic that the girl is not supposed to rise above the Warrior’s belt. It is very important that the girl does not rise to her feet. This dance will likely include many floor movements as the girl is not on her feet. This dance has phases and in the later phases of this dance the girl acknowledges that she is the Warrior’s and tries to please him. He will remain aloof from her and her efforts will get more desperate. At the climax of the dance, the girl will be on her knees. The Warrior will be at her side, holding her behind the small of the back. The kajira will bends backwards until her head touches the furs and then the Warrior will lower her to the floor. They will end the dance in a kiss.
  8. “Buy me Master” dance – This dance is rather self-explanatory, a girl must display her attributes dancing before her Masters as luscious, eager, ready begging merchandise. Having a sign about her neck reading “Buy me Master”.This dance is rather self-explanatory, a girl must display her attributes dancing before her Masters as luscious, eager, ready begging merchandise. Having a sign about her neck reading “Buy me Master”.

Lure and Need Dances

  1. Dance of Seduction – Wearing intricate silks a girl would slowly and sensually strip herself, using the silks to tease and taunt, then would dance her beauty to seduce the Master, dance is free form and unhurried till the climax.
  2. Need Dance – This dance usually proceeds in five, clearly defined phases. The phases are denoted by the music and the movements and expressions of the kajira. During the first phase, the girl will dance, feigning indifference to the presence of the men around her. In the second phase, as she has not yet been raped, she must subtly show her distress, uneasiness, and restlessness. She is beginning to become aware of her sexual urges and fights against them. At the conclusion of this phase, it must be evident that she has deep sexual needs and that she fears not being attractive enough to the men. During the third phase, in an almost ladylike fashion, she will admit defeat in her attempt to conceal her sexuality. She will then acknowledge before the men that she has sexual needs, inviting the men to claim her. She will also still show her fear over not being acceptable to the men. In the fourth phases, also called the Heat of the Collared She-Sleen, she will shamelessly dance her need and beg for sexual satisfaction. The final phase is also known as the Heat of the Slave Girl. This is a very dramatic phase where the girl clearly admits that she is a slave and pleads for her rape. The girl will rarely be on her feet during this phase. Obviously, if she is pleasing, she will be raped once the dance is completed.
  3. Sa-eela Dance – This is one of a number of dances that belongs to a group of dances called the Lure Dances of the Love-Starved Slave Girl. The common theme of this genre is the attempt of a neglected slave to get the attention of her Master. The Sa-eela is commonly done in the nude, with only a collar on. It is a moving, deeply rhythmic, and erotic dance, one of the most powerful of all the slave dances. It is performed differently in different cities. It consists of a number of different phases. During the display phase, a girl will call attention to all of the aspects of her beauty such as her hair, her legs, feet, hands, and more. It is basically a phase categorizing a girl’s physical assets. In the final phases of the dance, the girl tries to arouse the interest of her master eventually placing herself at the mercy of her master. This is not the type of dance that would be performed in the presence of free women.
  4. Tile Dance – This dance is usually performed on red tiles beneath the slave ring of a master’s couch. The dancer is commonly chained to the slave ring. The dance is performed on the girl’s back, stomach and sides. It signifies the restlessness and misery of a love-starved kajira. A premise of the dance is that the girl believes she is alone. She will moves and squirms in her need. The master will then supposedly surprise her and she will try to hide the torment of her need. She will fail at this and eventually surrenders her pride. She will finally writhe openly, begging him to touch her, to rape her.
  5. Pole or Post Dance – There are many versions of this dance, some using a real pole while others use an imaginary pole. The dance may be done with one or more girls. They may be tied with bonds or not. The girl will dance around the pole, kissing, caressing, and licking the pole. If it is done without a pole, the girl will dance as if it does exist. A girl can achieve remarkable control around this imaginary pole. This dance can help show a girl how to address herself to a standing master. He can thus be treated like the pole.
  6. Hope of Tina Dance – This dance expresses the yearning and hopes of a young free woman wanting to be found suitable and beautiful enough to qualify for bondage. The slave would timidly dance her attributes and charms. As the dance advances, the slave would become bolder in her movements, dancing unabashedly and sensually.
  7. Passion Dance of the Nude Slave Girl – This dance is an expression of the fears, hopes, desires of the slave girl to dance before a powerful male. Will she be pleasing?
  8. Flute Dance – A girl plays the flute to entice Master’s, tease and cajole, maybe insolently or prettily, as a girl wishes.

Display and Story Dances

  1. Virgin Dance – There are three basic categories of virgin dances. First, they refer to the types of dances fitting for a virgin. These dances would rarely be seen in a tavern. Second, they refer to any dance that displays a virgin who is soon to lose her virginity. Third, and most commonly, it refers to a “role” dance where a girl dances as if she was a virgin but knows she is soon to be ravished. This type of dance is rarely done by an actual virgin. It is not a story dance but is more an emotional or attitudinal piece.
  2. Whip Dance – Girls dances to the threat of the whip (rarely is a girl lashed though), girl does react to the snap of the whip as if struck, in climax she would submit fully to the Master holding the whip. Most whip dances resemble one another. As with most all of this sort is, the threat of the whip, typically a girl would flee and fight the Master or the whip, then as her needs overtakes her pride, would dance her heat, in climax a girl would submit to the One holding the whip. In the end in the Port Cos Whip Dance, the Master coils the whip about her neck and brings her to a table with rowdy sailors who would use her for their pleasure.
  3. Veil Dance of the Tahari – A sensuous dance of many veils, where a slave will taunt and tease with them, taking them off as she goes.
  4. Dance of Beauty – A girl is adorned in silks and jewellery. She would dance at the Masters request, often to a imaginary pole, remaining its prisoner, sometimes fighting it, sometimes loving. Till the Master snaps His fingers, then she is free to move among the Masters at her she, a girl may please each Master individually or react specifically to direct orders from one Master, it is a free form dance where a girl does whatever a Master wishes. Beauty seduction and grace are being the focal point of her moves and gestures.
  5. Bead Dance – On the island of Ianda, located north of Anango and close to the shore, girls learn how to dance using their hands and beads to form certain figures which have symbolic meaning. Some of these figures include a free woman, whip, yielding collared slave, thieving slave, terrified girl summoned before her master, girl meeting one with the plague, obedience and joy. It would be similar in some ways to the sign language of the Red Savages though beads are also used in this dance. Few girls outside of Ianda would know this form of dance.
  6. Brand Dance – This is a dance that is mentioned in the books but is never described. From its name, we can speculate that it is a story dance about a girl being branded. The beginning phases of the dance may concern the girl’s fears about being branded. The middle phases will depict the actual branding and the latter phases will show the girl accepting and admiring her new brand.
  7. Dance of the Netted Slave – This dance will begin with a number of slaves writhing in a net on the floor. There will be some girls dressed as slave hunters though they can clearly be seen as slaves. The “hunters” use light staffs, pretending to prod and torment the girls in the nets. Much skilled staff work may be involved. Near the finish of the dance, the “captives” will be proudly displayed. Then, upon the snap of a slave whip, the “hunters” will strip and join the captives. A larger net will then be used to cover all of the slaves.

Placatory Dances

  1. Placatory Dances – There are many varieties of these dances. The purpose of these dances is for a girl to beg forgiveness and ease the anger of her Master. She will endeavor to show her sincerity and desire to improve. Every trained slave learns some form of placatory dance during their training. Some of these dances have fixed forms, sanctioned by custom and tradition, such as the stately “Contrition Dance” of Turia. Most of these dances are “free” dances in which the slave improvises the moves. The dancer will adjust the dance to conform to the nature of the offense and the nature of her Master.

Dances of The Free Women

  1. Free Women’s Dance of Welcoming
  2. Rencer’s Dance of Womanhood – The Rencer Caste live in the swamps and marshes of the Vosk Delta. The dances of rence girls are unique on Gor. There is some savagery in their dances but also stately and stylized aspects. There are movements reminiscent of the casting of nets, poling of marsh craft, weaving rence or hunting gants. But, their dances all eventually become the dances of women who desire men. Even the shiest of girls will become quite wanton. In the Rencer community, it signals the end of childhood when a girl first dances. The dances are usually done in a circle at their occasional festivals. Only single women are permitted to dance and after the dance, they will pair off with the single men.

Panther Girl Dances

  1. Panther Dances – During some nights, under the moons, panther girls dance naked and wildly, like slaves, inside a dancing circle. They usually dance when their suppressed womanhood becomes too painful. Each band will have a dancing circle near their camps. This is commonly a clearing of grass of twenty-five to thirty yards in diameter. At one side is a slave post, about five feet high and seven inches thick. There are two heavy metal rings in it, one ring two feet from the ground and the other three and a half feet. On the front, near the top, is a crude representation carved in the bark of opened slave bracelets. In the center of the circle are four heavy stakes, about six inches high, forming a small but ample square. The enslavement of males often take place in these circles as well.

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