Whip Dance

WHIP DANCE Criteria:

  1. A Master with a whip stands near the dancer and cracks it close to her but not striking her, unless she performs badly, as she reacts as if hit, ever dancing in an attempt to be pleasing.
  2. The Whip Master approaches and appears to beat her down to the floor and stands over her as she poses in total submission
  3. The Whip Master then pulls her to him (perhaps wrapping her in the whip) and drags her off, tossing her to other watching Masters so they may have their way with her

“Tonight, ” said Ligurious, “I will give her to the guardsmen, She will dance the whip dance, naked.” There are many whip dances on Gor, of various sorts. In a context of this sort, presumably not in a tavern, and without music, the girl is expected to move, writhe and twist seductively before strong men. If she does not do well enough, if she is insufficiently maddeningly sensuous, the whips fall not about her, but on her. When one of the men can stand it no longer he orders her to his mat where, of course, she must be fully pleasing. If she is not, then she is whipped until she is. Then when one man is satisfied, the dance begins again, and continues in this fashion until all are satisfied, or tire of the sport.”

Kajira of Gor

A PORT COS SLAVE WHIP DANCE

A new dancer came forth upon the floor and began, a tall brute near her with the leather, to perform a whip dance.

In the whip dance, though there are various versions of it, depending on the locality, the girl is almost never struck with the whip, unless, of course, she does not perform well. When the whip is cracked, however, the girl will commonly react as though she has been struck. This, conjoined with the music, and her beauty, and the obvious symbolism of her beauty beneath total male discipline, can be extremely, powerfully erotic. In an elegant, civilized context, one of beauty and music, it makes clear and bespeaks the raw and essential primitives of the ancient, genetic, biological sexual relationship of men and women.

The whip dance continued before us.. The whip dance was now approaching its climax.

I turned my attention to the dancer on the floor. She lay now on her back, one knee lifted, her arms at her sides, palms down, before the brute with his whip, who towered over her. Her head, too, was turned to the side. Then she turned her head to face the brute who tyrannized her. She looked deeply into his eyes. Then, delicately, in a graceful gesture, she turned her hands, putting their backs to the floor, exposing her palms, and the soft flesh of her palms, to him, indicating her surrender, her submission, her vulnerability and her readiness.

There was applause, the striking of the left shoulder, from the tables.

The brute then crouched beside her and encircled her neck with the coils of his whip. He drew her to her knees then before him. She looked up at him, her neck in the whip coils, his.

There was more applause. Then the brute looked to Policrates, who indicated a table. He then pulled the girl to her feet and, running her over the tiles, and then releasing the coils from her neck, threw her stumbling into the arms of waiting pirates who, with a cry of pleasure, sized her and began to work their lusty wills upon her. There was more applause, and laughter.

Rogue of Gor

PORT KAR WHIP DANCE
“I watched the dancing girl of Port Kar writhing on the square if sand between the tables, under the whips of masters, in a Paga tavern in Port Kar.

It is called the Whip Dance, the dance the girl on the sand danced.

She wore a delicate vest and belt of chains and jewels, with shimmering metal droplets attached. And she wore ankle rings, and linked slave bracelets, again with shimmering droplets pendent upon them; and a locked collar, matching.

She danced under ships’ lanterns, hanging from the ceiling of the paga tavern, it located near the wharves bounding the great arsenal. I heard the snapping of the whips, her cries.”

Raiders of Gor

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