Dance Structure for slaves....

Dance Structure[ for slaves..../font]

Here are some points to look out for while creating your dances:

-Try to keep your dances between 8 to 10 posts long. You do not wish bore a Master by dancing forever and a day nor do you wish to have the dance over before it seems to have started. Too short of a dance may seem like little effort was put into it.

- Dances are not just movement. They are expressions of emotion. You should remember to add feelings and music into the poses while you dance. Give the Master something to focus on, remember, feel.

Do not cut and paste or use macros.....this is the sign of a lazy slave and also does not allow for changes to be easily made. What will you do if something happens during the dance that will interrupt it? (I.E., A fight breaks out, an over enthusiastic Master decides to screw the dance and toss you over his shoulder, Net split, An assassination...) All kinds of things can happen. I recommend that you watch the screen do not just go onto autopilot. Change your dance depending on what is happening in the room

- Try to seperate your poses with something like a BOLDED word or a small seperator like ~*~. This makes it easier for all to read.

- One last thing. Remember that those who watch do not read minds. Try to be clear on what is it you are doing. Have a definite beginning - where are you, what are you doing and a definite closing.

Scripting the Dance

OK. The actual scripting of a dance. It can be difficult to put your ideas to paper. You may have a lot of vague ideas and a basic timeline and order of events. That is all you need. Scripting a dance is like painting. Yes, I knows that it sounds silly but it works.
We will be scripting a classic Pole Dance.

FIRST - sketch the idea out on the page... jot down your random thoughts, free form:

- Go to pole/describe your outfit/wait for music.
- Music begins/twirl about pole/mimic lashing
- Repent/beg forgiveness - Pole becomes Master/pressing to it
- Submitting/longing for his touch/hips moving
- move about pole/caressing body/heat
- Faster/harder
- Climax
- End post

The thing to remember with your free form thoughts: It is NOT written in stone. Half the time, they may not match the jotted thought.

SECOND - begin to fill in the descriptions of the dance - adding in color and spark... bring the dance to life and setting the mood of the dance.

- Go to pole/desc outfit/wait for music... becomes:

girl moves to the whipping pole in the middle of the sand pit. She tosses her hair from her face, eyes bright with excitement. She smoothes her hands over her silks and lifts her arms up to grasp the chain as if bound for punishment.... ready for the music to begin.

THIRD - Fill in the description with appropriate adjectives, polish the pose.

She moves as graceful as a prowling feline to the whipping pole in the middle of the sand pit. She tosses her mane of raven hair from her face, dark eyes bright with excitement. Smoothing her silks over the curves of her female body, she lifts her arms up to grasp the chain as if bound for punishment.... ready for the music to begin.

You may find that one post with not be enough to fill out one of your jotted thoughts. That is fine. Simply break it up into two or more posts. But be careful to not get bogged down in too much detail. Let each post flow from one to another. Always read your dance to yourself out loud. See if it makes sense and flows together. You may have to add an transitional post to link two major posts together.

Structure of the Dance

Think of the dance as a story. You are trying to express yourself, tell your story for all who watch to see, feel and understand. It is important to have the following parts to a dance:
-Beginning - This is a clear sign that the dance has begun: girl moves as graceful as a prowling feline to the whipping pole in the middle of the sand pit. She tosses her mane of raven hair from her face, dark eyes bright with excitement. Smoothing her silks over the curves of her female body, she lifts her arms up to grasp the chain as if bound for punishment.... ready for the music to begin.

-Build up - The dance is a story... there needs to be a definite progression of events:
For example:

With a Pole Dance - the dance can start as a punishment... moving to begging for forgiveness... moving to offering oneself for the pleasure of the Master... moving to pleasure and joy and finally to a conclusion.

With a Veil Dance - there is a definite progression as the 7 veils are shed from the body. You could tell the story of a FreeWoman made slave... or of a slave coming out of her shell into her full sexuality... veils shed like a cocoon.

-Climax - The pinnacle of the Dance, where the 'story' of the Dance is realized. This is usually one or two posts from the end of the dance with the last posts to wrap up the dance:
Some examples:

Pole Dance - The Joy of finally pleasuring the Master.
Veil Dance - The point where the last Veil is shed.
Submission Dance - The point where the slave submits to the Master.
Capture Dance - The point where the slave is actually captured.

-End Post - This is a clear sign that the dance has ended. This girl likes to nadu, bowing her head in respect for those who watched the dance and to name the dance: girl shifts from the pole, crawling a bit away from it, where she kneels tall, chin lifted proudly, dark eyes lowered, hands resting with palms facing the moons of Gor upon thighs parted wide to display her body. She bows her head in respect to those who have watched as her Pole Dance comes to its conclusion.

Final thoughts on scripting a dance

-Always dance from the heart. Dance what you feel and describe it. Let others know your passions, your joy, your pain and sorrow. A dance is to affect all who watch... drawn them... sweet nectar for the taking.

- Be original. A dance is a -personal- expression. You have no need to copy another... even if the dance has been danced a thousand times before. Make the dance your own.... claim it, body and soul.

- Be sexy. Face it, girls... that is why the Masters watch. They like to see the female expression of sexuality. You can be as blatant or innuendo-ish as you like. I prefer more the innuendo but there are times for the blatant, in-your-face lustful posts.

On the practical side:

- Spell check! Nothing will distract more from a dance then badly spelled words.

- Reality/Continuity check... is what you dance possible? Don't be on your knees in one post and leaping in the next - unless you write that you are rising from your knees to leap into the air... Remember no one is a mind reader - they cannot see the dance that is in your head.

- Read your dance out loud to yourself. Make sure it flows smoothly and makes sense. Don't be afraid to go back add things or subtract them. A dances is a living thing... forever being modified.

- Show your sisters and get their opinion if you think you need help. But be warned... if you ask for an opinion... expect an honest answer... and accept the fact that if your sisters do not like the dance - it is only the dance they are critiquing... not you personally.

- This is please your Master. None of what I have said matters one wit if it does not please the Master you dance for. Tailor your dances to suit your Master. If he is a leg man - more leg posts... if he wishes you to touch yourself... caress your body more... Modify all the suggestions I have said to fit the audience you will be dancing for.
-Finally... have fun and be yourself!

Dance Explanation

Belt Dance
"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...." "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."
"Assassin of Gor" p. 185

Chain Dance
A girl is chained to a stake by a warrior with the chain interwoven from the ko-lar of her neck through the wrists and down to her ankle cuffs by ten feet of play between the slave and the driven stake. The slave dances to show her submission and joy of being a slave. The chain wraps around her and she writhes and fights at first, and fights wildly, but she eventually she submits because of her desire and the fire within her belly. In the end, she shows her joy at feeling the confinement of the chain around her slaveheart.
"Nomads of Gor" p. 159

Dance of the 6 Thongs
The girl has 6 leather thongs attached to her body: (ankles,wrists, belly, and neck) She dances as a girl who is captured. She will show her defiance and bewilderment at not being able to move freely, the dance growing more frenzied until she is subdued by the Masters that hold her. The girl is then presented to one Master, who asks her if she is slave, to which she will proudly say that she is.
"Raiders of Gor" p. 228

Love Dance of a Newly Collared Slave
"The Love Dance of the Newly Collared Slave Girl has many variations, in the different citied 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."
"Raiders of Gor Book" p. 115

Need Dance
"There are usually five phases to such a dance. In the first phase the girl, dancing, feigns indifference to the presence of men, before whom, as a slave, she must perform.
In the second phase,for she has not yet been raped, her distress and uneasiness, her restlessness, her disturbance by her sexual urges, must become subtly more manifest. Here it must be evident that she is beginning to feel her sexuality, and drives, profoundly, and yet is struggling against them. Toward the end of this phase it must beome clear not only that she has sexual needs, and deep ones, but that she is beginning to fear that she may not be, simply as she is, of sufficient interest to men to obtain their satisfaction. Here, need, coupled with anxiety and self-doubt, for she has not yet been seized by strong men, must become clear.

In the third phase of the dance she, in an almost ladylike fashion, acknowledges herself defeated in her attempt to conceal her sexuality; she then, again in an almost ladylike fashion, delicately but clearly, with restraint but unmistakably, acknowledges, and publicly, before masters, that she has sexual needs. Then, with smiles, and gestures, displaying herself, she makes manifest her readiness for the service of men, her willingness, and her receptivity. She invited them, so to speak to have her. But she has not yet been seized by an arm or an ankle, or by her collar, a thumb hooked rudely under it, or hair, and pulled from the floor. What if she is not sufficiently pleasing? What if she is not to be fulfilled? What if she must continue to dance, alone, unnoticed. At this point it becomes clear to her that it is by no means a foregone conclusion that men will find her of interest, or that they will see fit to satisy her. She must strive to be pleasing. If she is not good enough she may be chained, unfilfilled, another night alone in the kennel. There are always other girls. She must earn her rape. Too, if she should be insufficiently pleasing consistently it is likely that she will be slain. goreans place few impediments in the way of liberation of a slave female's sexuality.
In this [fourth] phase of the dance, then, shamelessly the woman dances her need and, shamelessly, begs for her sexual satisfaction. The phase of the dance is sometimes known as the Heat of the Collared She-Sleen.

The fifth, and final phase, of the dance, is far more dramatic and exciting. In this phase the girl, overcome by sexual desire and terrified that she may not be found sufficiently pleasing, clearly manifests, and utterly, that she is a slave female. In this portion of the dance the girl is seldom on her feet. Rather, sitting, rolling, and changing position, on her side, her back, her belly, half kneeling, half sitting, kneeling, crawling, reaching out, bending backwards, lying down, twisting with passion, gesturing to her body, presenting it to masters for their inspection and interest, whimpering, moaning, crying out, brazenly presenting herself as a slave, pleading for her rape, she writhes, a piteous, begging, vulnerable, ready slave, a woman fit for and begging for the touch of a master, a woman begging to become, at the least touch of her master, a totally submitted slave.
The fourth phase of the dance, as I have mentioned, is sometimes known as the Heat of the Collared She-Sleen. This portion of the dance, the fifth portion, is sometimes known as the Heat of the Slave Girl..."
"Rogue of Gor" p. 185

Placatory Dance
"There are many forms of placatory dances which are performed by female slaves. Some of these tend to have rather fixed forms, sanctioned by custom and tradition, such as the stately 'Contrition Dance' of Turia. Some sort of placatory dance is usually taught to the girl in slave training." "Most placatory dances, however, are not fixed-form dances, but are 'free' dances, in which the slave, exquisitely alert to the nuances of the situation, the particular master, the nature of his displeasure, the gravity of her offense, and such, improvises, to reassure him of the authenticity of her contrition and the genuineness of her desire to do better."
"Dancer of Gor" p. 332

Pole Dance
The slave will attempt to arouse and entice the pole or "Master" with erotic movements that involve her touching and caressing "Him" (the pole), beckoning her use by "Him". This dance can be done either by securing her to the pole or she may remain free from the pole, swirling around in frantic and heated movements.
"Blood Brothers of Gor" p. 39

Sa-eela
"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."
"Guardsman of Gor" p. 259

Seduction Dance
The name of the dance is fairly self-explanitory, in this dance the slave tries to seduce a Master, perhpas even to get him to buy her. "Tribesmen of Gor" p. 101 Serving (Scarf or Veil) Dance Performed using ribbons or scarves as a form of enticement for the Master. The girl will offer to serve the Master in a most exciting manner. She typically wears a costume of scarves or uses a ribbon to arouse both herself and the Master. Falling to her knees, she may offer a lustful serve of ka-la-na.
"Tribesman of Gor" p. 13

Stalking Dance of the Panther girls
"The girls then, following her, began to dance..." "How starved must be the lonely, hating panther women of the forests, so gross is their hostility, so fierce their hatred, and yet need, of men. They twisted, screaming now, clawing at the moons. I would scarcely have guessed at the primitive hungers evident in each movement of those barbaric, feline bodies. They would be masters of men. Proud, magnificent creatures. And yet by biology, by their beauty, by their aroused inwardness, could not, in fact, own but only, in their true fulfillment, belong, be taken, be conquered...." "The drum was now very heady, swift. The dance of the panther girls became more wild, more frenzied. Vicious, sinuous, clawing, lithe, these savage beauties, in their skins and gold, with their knives, their light spears, weapons darting, danced. They were terrible, and beautiful, in the streaming, flooding light of the looming, primitive moons of perilous Gor. I could hear their cries of rage and need, hear their heels striking in the earth, their hands slapping at their thighs. I saw the teeth of some, white, bared, at the moons, their eyes blazing. The hair of all was unbound. Several had already, oblivious of the presence of the men of Tyros, torn away their skins to the waist, others completely. On some I could hear the movement of the necklaces of sleen teeth tied about their necks, the shivering and ringing of slender golden bangles on their tanned ankles. In their dance they danced among the staked-out bodies of the men of Marlenus, and about the great Ubar himself. Their weapons leapt at the bound men, but never did the blows fall..." "The dance would soon strike its climax. It could continue little longer. The women would go mad with their need to strike and rape."
"Hunters of Gor" p. 197

Submission Dance
Performed for the girl's true Master, each dance is different and unique, as is each Freeperson. It can be done in many ways, from the kajira allowing her hands to roam her own body in throbbing lust for her Master, to the girl writhing in desire and submitting at His feet.
"Dancer of Gor" p. 190

Tether Dance
"I jerked the tether at her throat.'This is a tether,' Isaid. 'It is to be well incorporated in your dance. You are a tethered slave. Do not forget it. You may fight the tether, you may love it. It may confine your body, you may use it to caress your body, an invitation to your master, a surrogate symbol of his domination of you. You need not dance always on your feet. A woman can dance beautifully on her knees,moving as little as a hand, or on her back, or belly or side. In all things do not forget you are a slave.'"
"Explorers of Gor" p. 360

Tile Dance
"The tile dance is commonly performed on red tiles, usually beneath the slave ring of the master's couch. The girl performs the dance on her back, her stomach and sides. Usually her neck is chained to the slave ring. The dance signifies the restlessness, the misery, of a love-starved slave girl. It is a premise of the dance that the girl moves and twists, and squirms, in her need, as if she is completely alone, as if her need is known only to herself; then, supposedly, the master surprises her, and she attempts to suppress the helplessness and torment of her needs; then, failing this, surrendering her pride in its final shred, she writhes openly, piteously, before him, begging him to deign to touch her. Needless to say, the entire dance is observed by the master, and this, in fact, of course, is known to both the dancer and her audience, the master. The tile dance, for simple psychological and behavioral reasons, having to do with the submission context and the motions of the body, can piteously arouse even a captured, cold free woman; in the case of a slave, of course, it can make her scream and sob with need."
"Explorers of Gor" p. 13

Tuchuk slave love dance
The rather savage and wild dance of the slaves of the Wagon People done with much savagery and seduction.
"Nomads of Gor Book" p. 98

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 descipline, 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 realtionship of men and women.... "
"Rogue of Gor" p. 191