Results Details

Did I hear the striking of the shoulders in applause, the pounding of goblets on low tables, the urgent cries of men? What power, I thought, must a dancer, a true dancer, exercise over men! How she must arouse them, how she must drive them mad with passion! But what power, ultimately, is hers, for she is in her collar? When the music stops is she not then, clearly, once again, only a slave at the feet of men? And is not the central, nonrepudiable message of this dance, in its entire concept, in its beauty, in its presentation of the female in all her marvelous sensuousness, that man is the master? This form of dance, on this world, is called "slave dance". - (Witness of Gor, Chapter 16, Sentence #203)

I danced away from it, terrified. Then it seemed I was alone with the dance, and my joy in it. And then, a moment later, wildly, it seemed again that I must dance for many. Did I hear the striking of the shoulders in applause, the pounding of goblets on low tables, the urgent cries of men? What power, I thought, must a dancer, a true dancer, exercise over men! How she must arouse them, how she must drive them mad with passion! But what power, ultimately, is hers, for she is in her collar? When the music stops is she not then, clearly, once again, only a slave at the feet of men? And is not the central, nonrepudiable message of this dance, in its entire concept, in its beauty, in its presentation of the female in all her marvelous sensuousness, that man is the master? This form of dance, on this world, is called "slave dance". That is perhaps partly because, on this world, it is permitted only to slaves, but I think it is more likely because, in it, the nature of woman is clearly manifested as slave. One might also mention that the dancer, in this form of dance, on this world, is commonly expected to satisfy the passions which she may have aroused. The submission which commonly figures in the finale of her dance, on this world, is not, I assure you, purely symbolic. - (Witness of Gor)