BELT DANCE Criteria:
- The belt dance is performed with a Warrior.
- She wears a white silken cord around her waist
- 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.
- She writhes at his feet, moving as though being struck with a whip.
- She then shows obeisance
- She then grows increasingly desperate to please him
- The Warrior finally takes a knee to her side, bends her back in a bow position and then lowers her to the ground and breaks away at the end of the music
“The belt dance is performed with a Warrior. The name of the dance is based on the fact that the girl’s head is not supposed to rise above the Warrior’s belt. However, it is deemed that only purists concern themselves with such constraints. The most important thing that it is imperative that the girl never rise to her feet.
“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. The music 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.
The belt dance is performed with a Warrior. She now writhed on the furs at his feet, moving as though being struck with a whip. A white silken cord had been knotted about her waist; in this cord was thrust a narrow rectangle of white silk, perhaps about two feet long. About her throat, close fitting and snug, there was a white-enameled collar, a lock collar. She no longer wore the band of steel on her left ankle.
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 more wild. 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, holding her behind the small of the back. Her head went farther back, as her hands moved on 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 bow in 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. ”
– Assassin of Gor
Categories: Dance Information