Dances.. Need and Netted Slave girl

Need Dance

Need Basics
Five phases to the dance:
Girl feigns indifference to the presence of Men
Her distress, uneasiness, restlessness, and disturbance by her sexual urges become subtly more manifest.
In an almost ladylike fashion she acknowledges herself defeated in her attempt to conceal her sexuality
She dances her need, shamelessly begging for sexual satisfaction.
She is overcome by sexual desire; seldom on her feet, she rolls, sits, moves to her sides, back and belly. She crawls, twists with passion, presents her body for inspection, whimpering, moaning, crying out. This dance usually proceeds in five, clearly defined phases. She will then acknowledge before the men that she has sexual needs, inviting the men to claim her. She will also still show her fear over not being acceptable to the men. In the fourth phases, also called the Heat of the Collared She-Sleen, she will shamelessly dance her need and beg for sexual satisfaction. The final phase is also known as the Heat of the Slave Girl. This is a very dramatic phase where the girl clearly admits that she is a slave and pleads for her rape. The girl will rarely be on her feet during this phase. Obviously, if she is pleasing, she will be raped once the dance is completed.

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 become 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 satisfy her. She must strive to be pleasing. If she is not good enough she may be chained, unfulfilled, 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, page 185,

Netted Slave girl, Dance of a

This dance will begin with a number of slaves writhing in a net on the floor. There will be some girls dressed as slave hunters though they can clearly be seen as slaves. The "hunters" use light staffs, pretending to prod and torment the girls in the nets. Much skilled staff work may be involved. Near the finish of the dance, the "captives" will be proudly displayed. Then, upon the snap of a slave whip, the "hunters" will strip and join the captives. A larger net will then be used to cover all of the slaves.
"I caught a glimpse, between bodies, of a naked slave writhing in a net on the dancing floor. Four other slaves were dressed in such a way as to suggest that they might be slave hunters, but their costumes were such as to leave no doubt as to their own sex, and considerable charms. They were on their feet and had light staffs. They whirled about the captive, preventing her escape, and exulting over her, pretending to prod and torment her. There was much skilled staff work in progress, the staffs often behaving in unison, circling about, changing hands, striking on the floor together, seeming to poke at the victim, to strike her and such. It was a version of the dance of the netted slave. I sat back from the dancing floor, my back to the wall, the musicians to my left. The dance was coming to an end and the slave who had been "netted," now well in custody, bound and leashed, was displayed by the "hunters" to the patrons. Now the captive knelt in the center of the dance floor, the "hunters" exultant about her. Then, as the music swirled to a conclusion, the captive lowered her head, humbly. There was much Gorean applause, the striking of the left shoulder with the palm of the right hand. There was then, suddenly, the snapping of a slave lash, and the "hunters" swiftly stripped themselves, cast aside their staffs and knelt with the prisoner. Then one of the fellows from the tavern took the net and cast it over the lot of them. No longer then were the hunters, hunters. Now, they, too, were only netted slaves. Then to a passage of music, all rose up, hunted and hunters, all now in the net, and, in the small, pretty running steps of hastening slave girls, hurried from the floor. There was more applause
Vagabonds of Gor, pages. 400-401