Dances and Dance descriptions

Dances on Gor. they can vary no two are the same
the important thing is to help the other people understand what you are feeling
try your hardest to pull all those emotions into it

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When you begin a dance, you need to set the stage for your audience. Do not simply begin dancing. You should first describe the setting of your dance. Are you in dancing sands, atop some furs, on red tiles or on a cold stone floor? Are you dancing by candlelight, torch-light or lantern? Next, you should also describe your self to your audience. If the information is not in your profile, you should describe your physical attributes and emphasize your best features. Remembers that Goreans found every part of a woman to be beautiful. Do not just describe your breasts and buttocks. Mention your hair, your legs, your hands, your ears. Then, you should describe any clothing or items that you are wearing. Are you naked, in silks, or wearing a ta-teera? Do you have any shiny bangles, bracelets or such? Are you wearing slave bells or holding zills? Paint a vivid picture of what your audience will first see when you appear before them.


Once you begin your dance, do not forget the initial picture you have given to your audience. Incorporate those items into your dance to enhance the vividness and reality of the dance. The surface you dance upon will affect how you can move. Dancing on sand is much different from dancing on tiles. Will your silks remain on you throughout the dance? Will they slowly be dropped during certain phases of the dance? Use the jewelry you are wearing to catch the light and sparkle at certain moments. If you have many bangles on, maybe the sound of their clanging will ring out. If you are wearing slavebells, they will definitely be making noise and you should describe those sounds, using them to stress certain movements. Use your zills to punctuate your dance at key moments. Do not forget the little details.


Another part of your setting would be music though online a dancer and her audience do not share a background of real music for the dance. A dancer's audience cannot hear the savage and sensuous rhythms of Gorean music. No flutes, no kalikas, no tabors. Instead, a girl must describe to her audience the type of music that would be present. She must tell them the instruments that are playing, the tempo and style of the melodies. A change in the music style is a good way to inform the audience that the dance is entering a new phase. The music is an important aspect of your dance. It helps create your atmosphere and depict the setting of your dance. Online, we are deaf so the dancer must be the ears of the audience and describe what would be heard during the dance.


When you begin your actual dance, you must describe it well, detailing your exact body movements and facial expressions. The more details you add, the better the dance will likely be. Let your movements and expressions depict the emotional state you are trying to portray such as your desire, your fear, your pride. These movements and expressions may change often in a dance, especially during each new phase of the dance. Mention your eyes, your mouth, your brow, your tongue, your nose. Describe what you are looking at, where your head is turned, the placement of your hair. Elaborate on the movement of your hands, fingers, hips and torso. Do not ignore any part of your body. Body language is a very instructive tool in understanding a person's emotions and feelings.

Dancing may be done in the nude, with jewelry or even dancing silks. These silks are usually diaphanous and can be of any color. One common method of wearing the silks is to have them hung low on the girl's hips and fall to her ankles. The silks though can be worn in a myriad of ways, all dependent on the girl, the dance and the audience. Jewelry can be of any type but most likely would be bright, shiny and make noise. One dancer wore a belt of small denomination, threaded, overlapping coins. Slave bells are also very common on dancers. Most often, men will place slave bells on a girl and generally only one who has authority over the slave. The slave herself will rarely put them on. The bells are often placed on their ankles though they could also be placed on wrists, belts or other areas. Many slave girls know how to wear their bells to drive a man crazy with passion. Zills, finger cymbals, may also be worn by a dancer. They are worn on the thumb and first finger of each hand. The dancer will judiciously use the clashing of the tiny cymbals to enhance her dancing.


The dancing chain, also known as the dancing collar, is another tool sometimes used to enhance a girl's dancing. They are used often in the Tahari region. The basic dancing chain consists of a long, light chain. It attaches to a ring on a right manacle and then to a girl's collar. It then descends to a ring on her left manacle. The chain hangs down to around her knees. This chain is meant to enhance her dance, not to restrict it. It does impose subtle limits but those are intentional, indicative of the girl's bondage. A traditional chain in the Tahari is the oval and collar. To enter the chain, she will kneel, head down, in a large oval of chain. At the sides of the top of the oval are two wrist rings. At the sides of the bottom of the oval are two ankle rings. The oval will be pulled inward and the wrist and ankle rings fastened on the girl. A dancing collar is placed around her throat. The front of the collar has an open snap ring. The chain is then placed within the snap ring and locked into place. The wrists will now be about a yard apart and the ankles will be about eighteen inches apart.


Though all dances are different, varying even from girl to girl, there are some basics that are generally common to all. Dances may begin in a number of ways but a common starting position is to have your hands lifted over your head with the wrists back to back, your body held high and your stomach held in, with your right leg flexed and extended, only the toes touching the floor. Most dances also consist of a series of different phases. During these phases, the music may differ and the girl's movements and expressions may also differ. In a story dance, each phase is meant to signify a different segment of the story. There are also "book" dances and non-book dances. A book dance is simply a dance that was mentioned from the books. If you perform a book dance, you should get the basics of that dance down correctly. You have room for artistic license in these dances but you still must follow the basics or the dance is no longer a book dance. Not all of the book dances were described and some not described well.

*Basic Dance Points*
Try to keep the dances between 11-14 posts long. A slave does not wish to bore a Master by dancing forever nor does she 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.
Each post should be 6-8 lines long. Not too short to get lost in the scroll and not too long to overflow the buffer. 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 a slave do if something happens during the dance that will interrupt it? (I.E., A fight breaks out, an over enthusiastic Master decides to stop the dance and toss her over his shoulder, An assassination occurs). All kinds of things can happen. It is recommended that a slave watchs the screen and does not just go onto autopilot. A slave should change her dance depending on what is happening in the room.

Seperate 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. A slave should try to be clear on what is it she is doing. Have a definite beginning - where she is, what she is doing and a definite closing.