I turned away and gave my attention to the slave writhing
on the tiles before us.
She was performing a need dance, of a type not uncommon among Gorean female slaves. Such a
dance usually proceeds in clearly defined phrases, evident not merely in the expressions
and movements of the girl but in the nature of the accompanying music. 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 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...
The music ended with a swirl of sound and the girl, with a jangle of bells, lay before the
table of Policrates, whimpering, her hand extended. She lifted her head. I read the
unmistakable need in her eyes. She was indeed a slave female.
Rogue of Gor, pg. 185
