Sa-eela Dance

Sa-eela Dance Criteria:

The criteria for the Sa-eela is very similar to that of the Need Dance. The dance is composed of 5 parts –

  1. She begins by feigning indifference to the presence of men
  2. She grows restless as she feels the subtle pangs of her sexual urges just beginning to manifest. She grows anxious, full of self-doubt, fearing she might be unsatisfying
  3. She reservedly but clearly acknowledges to the Masters that she has sexual needs and beautifully displays herself in an open and sensual invitation
  4. She begins to shamelessly beg for her sexual satisfaction.
  5. Overcome with desire, full of panic that she will be left unsated, she pleads for her rape as a desperate and totally submitted slave, usually unable to even stay on her feet as she collapses to the floor and finally ends in a weak posture still reaching to be taken.

The Sa-eela is one of the most moving, deeply rhythmic and erotic of the slaves dances of Gor. It belongs, generally to the genre of dances commonly known as the Lure Dances of the Love-Starved Slave Girl. The common theme of the genre, of course, is the attempt on the part of a neglected slave to call herself to the attention of the Master…. The Sa-eela, usually performed in the nude, as though by a low slave, and by a girl freed of all impediments except her collar, is one of the most powerful of slave dances of Gor. It is done rather differently in different cities but the variations practiced in the river towns and, generally in the Vosk basin, are in my opinion, among the finest. There is no standardization for better or worse, in Gorean slave dance. Not only can the dances differ from city to city, but even from tavern to tavern, and 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, it provides her with a wondrous modality for deeply intimate self-expression.

Peggy now danced upon her knees, at the end of the table using the table in the dance, thrusting her belly against it, and touching it with her hands, and her body and lips.

The Sa-eela, of course is not the sort of dance which could be performed by a free woman.

Peggy, then was back from the table, on the tiles, on her back, and sides, and knees, and then prone, and again supine, and then writhing, as though in frustration and loneliness. Stands before the Master, hands lifted, their backs together above her head.

T observed the dancer, closely, the striking of her small, clenched fists on the tiles, the scratching of her fingernails at their smooth surfaces, the turning of a hip, the flattening of a thigh, the lifting of a knee, the turning of her head, the piteous scattering of her hair from side to side. She lay on her back, and whimpering, struck down in misery, stinging the palms of her hands, bruising her small heels. She might have been in a cell, locked away from men.

She then rolled to her stomach, and rose to her hands and knees, and head down remained for a moment in that posture. It is at this moment that the music enters a different melodic phase, one less physical and frenzied, one almost lyrical in its poignancy. She crawls some feet to her left and lifts her head. She puts out her small hand. It seems that it there encounters some barrier, some enclosing, confining wall. She then rises to her feet. Swiftly she hurries about, in the graceful, frightened haste of the dancer, her hands seeming to trace the location of the obdurate barriers, those invisible walls which seem to contain her. She then stood and faced us, and put her head in her hands, bent over and straightened her body, her head and hair thrown back. “I?” she seemed to ask, looking out, as though some rude jailer might have come to the gate of her pen. But there is of course, no one there, and in the performance of the dance, that is clearly understood. Then, in poignant fantasy, within the pen. But there is, of course, no one there, and in the performance of the dance, that is clearly understood. Then, in poignant fantasy, within the pen, she prepares herself for the master, seeming to thoughtfully select silks and jewelry, seeming to apply perfume and cosmetics, seeming to be bedecked in shimmering diaphanous slave splendor. She then crosses her wrists, and moves them, as though they have been bound. She then extends them before her as though the strap on them had been drawn taut. It then seems that she, head high, a bound slave is being led on her tether from the pen. But, at the gate, of course, her wrists separate, and her small palms and fingers indicate for us clearly, that she is still confined. She retreats to the center of the pen, falls to her knees, covers her head with her hands, and weeps.

The next phase of the music begins at this point.

She looks up. There is a sound in the corridor, beyond the gate. She leaps up, and backs against the wall of her pen. This time, it seems, truly, there are men there, that they have come for her. She puts her head up; She turns away; she feigns disdain. Then it seems as she, startled, looks about, on the floor of the pen, calling to them, lifting her head, holding out her hand piteously to them. She pleads to be considered. It then seems, as she shrinks back, lifting herself to the palms of her hands, frightened, that the gate to her pen has been opened. She kneels swiftly in the position of the pleasure slave. Obviously she fears her rude jailers. Twice it seems she is struck with a whip. Then she again assumes the position of a pleasure slave. She nods her head. She understands well what is expected of her. She is to perform well on the tiles of the feasting hall. “Yes Masters!” it seems she says. But how little do her jailers, perhaps only common and boorish fellows, understand that this is precisely what she too, deeply and desperately desires to do. How long she has waited, in cruel frustration, unfulfilled and lonely, in her cell for just such a moment, that precious opportunity in which she a mere slave, may be permitted to display and present herself for consideration of her master. How can they understand the poignance, and significance of this moment for her? She is to have an opportunity to present herself before the master! Who knows if she in such a large house, one with such cells and jailers, may ever again be given such an opportunity?

It then seems that she is hauled to her feet and that her wrists, tightly and cruelly, are bound behind her back. Her body and head are then bent far over. Her head twists. It seems a man’s hand is in her hair. Not as a high slave, clothed in jewelries and shimmering silks, tastefully bound, is she to be conducted to the site of her performance, some aristocratic banquet; rather, cruelly bound and nude, she is to be thrown before masters at a drunken feast. She then with small, hurried steps, bent over, described a wide circle on the tiles. Then, it seemed, she was thrown to her knees, and then her side, before us. Her hands were still held as though tightly bound behind her. She looked at us. We were of course, the “masters,” before whom she was to perform. She rose to her feet. She twisted as though her hands were being untied. She then flexed her legs and lifted her hands over her head, as she hand in the beginning, back to back.

The final phases of the Sa-eela then begin.

In these phases the girl, in all her unshielded beauty, and naked except for the collar of slavery, attempts to arouse the interest of her master.

Peggy’s body gleamed with sweat. She had small feet, and lovely high arches. Her body was superb…

She had now entered into the display phase of the Sa-eela. In this portion of the dance the girl calls attention to the various aspects of her beauty, from the swirling sheen of her cascading hair to her ankles, from her small feet to her tiny, fine fingers….

The music now, pounding and throbbing, mounted headily toward the climax of the Sa-eela.

In these, the final portions of the Sa-eela, the slave in effect, puts herself at the mercy of the master. She has already presented before him, almost in a delectable enumeration, many of the more external and rhythmic aspects of her beauty. She has displayed herself hitherto before him rather as an object in which, hopefully, he might take an interest. A woman may do this, of course from many motives, such as fear or her desire to be purchased by an affluent master, only one of which might be her authentic, poignant desire to be found pleasing by him, for her own sake. In such displays there can be, though thereoften is not, a subtle psychological distinction, detectable in the behavior, between the merchandise, so to speak, and the girl who is displaying herself as merchandise. In the first case, where no true distinction exists, which is the authentic case, the girl in effect says, “I am for sale. Buy me, and love me!” In the second case, the girl in effect says, “Here is a fine slave. Are you not interested in her?” In the second case of course, the Gorean is interested, though the girl may not understand this clearly, in not only the merchandise but the girl who is displaying the merchandise. She might truly be terrified if she understood that it was herself he intended to own, and in fact, was going to own, she the exhibitor of the merchandise as well as she, the merchandise exhibited. Goreans, as I have mentioned, are interested in owning the whole woman, in all her sweetness, depth, complexity and individuality.

The girl now, in all her helplessness, in all her desperation in all her sensual splendor, was dancing not aspects or attributes of her beauty before her master, but was dancing her own passions, her own needs and desires, her own piteous needful, beautiful, intimate and personal self before him. There were no restraints, no reservations, no compromises, no divisions or distinctions. Her needs were as exposed as her collared body. She danced herself before her master.

The music swirled to its climax and Peggy, turning, flung herself to her back on the tiles before Callimachus of Port Cos. As the music struck its last, rousing note, she arched her back, and flexed her legs, and looked back at him, her right arm extended piteously back toward him.

-Guardsmen of Gor

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