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 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....
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, pg. 191
