Six thongs... Tether ... Tile Dances.

Six Thongs, Dance of
Six Thongs Basics
Wears collar with slave bells
Locked rings on ankles/wrists with slave bells attached
Six Men
Binding fiber
Six men approach the girl each with a length of binding fiber
The binding fiber is attached at wrists, ankles, and two at the waist
Men stand 6-8 feet from the slave, three on each side
The slave begins by acting as if she is not bound. She becomes angry when she realizes she is being held captive.
She tries to strike out at the Men, but is restrained and continues to writhe and fight
They join together and bind her fully, lifting her over their heads as a fully captive slave.
In this dance, the girl wears a collar and locked rings on her wrists and ankles. The collar and rings are belled. Six men will then each fasten a length of binding fibre to her. One length will be fastened to the rings and two will be fastened to her waist. The men then stand by her side, three to a side, and about six to eight feet away. They each are holding an end of the binding fibre. The girl will then begin the dance as if she is unfettered. She will eventually begin moving and feel a minor restriction. She will frown, looking annoyed and puzzled at first. Her hair will also begin the dance pinned up. During the dance she will remove the pin and her hair will fall down. She will then find that she is not permitted to place her hair back with the pins. The girl eventually understands her plight and will try to resist. She may charge one of the men but the others will hold her back. Finally, the men take up all of the slack, bind the girl, lift her over their heads and display her bound body around the room.
"You may dance, Slave," I told her.
It was to be the dance of the six thongs.
She slipped the silk from her and knelt before the great table and chair, between the other tables, dropping her head. She wore five pieces of metal, her collar and locked rings on her wrists and ankles. Slave bells were attached to the collar and the rings. She lifted her head, and regarded me. The musicians, to one side, began to play. Six of my men, each with a length of binding fibre, approached her. She held her arms down, and a bit to the sides. The ends of six lengths of binding fibre, like slave snares, were fastened on her, one for each wrist and ankle, and two about her waist; the men, then, each holding the free end of a length of fibre, stood about her, some six or eight feet from her, three on a side. She was thus imprisoned among them, each holding a thong that bound her....
Sandra then, luxuriously, catlike, like a woman awakening, stretched her arms.
There was laughter.
It was as though she did not know herself bound.
When she went to draw her arms back to her body there was just the briefest instant in which she could not do so, and she frowned, looked annoyed, puzzled, and then was permitted to move as she wished.
I laughed.
She was superb.
Then, still kneeling, she raised her hand, head back, insolently to her hair, to remove from it one of the ornate pins, its head carved from the horn of kailiauk, that bound it.
Again a thong, this time that on her right wrist, prohibited, but only for an instant, the movement, but inches from her hair.
She frowned. There was laughter.
At last, sometimes immediately permitted, sometimes not, she had removed the pins from her hair. Her hair was beautiful, rich, long and black. As she knelt, it fell back to her ankles.
Then, with her hands, she lifted the hair again back over her head, and then, suddenly, her hands, by the thongs were pulled apart and her hair fell again loose and rich over her body.
Now, angrily, struggling, she fought to lift her hair again but the thongs, holding apart her hands, did not permit her to do so. She fought them. The thongs would permit her only to wear her hair loosely.
Then, as though in terror and fury, as though she now first understood herself in the snares of a slave, she leaped to her feet, fighting, to the music, the thongs.
The dancing girls of Port Kar, I told myself, are the best on all Gor.
Dark and golden, shimmering, crying out, stamping, she danced, her thonged beauty incandescent in the light of the torches and the frenzy of the slave bells.
She turned and twisted and leaped, and sometimes seemed almost free, but was always, by the dark thongs, held complete prisoner. Sometimes she would rush upon one man or another, but the others would not permit her to reach him, keeping her always beautiful female slave snared in her web of thongs. She writhed and cried out, trying to force the thongs from her body, but could not do so.
At last, bit by bit, as her fear and terror mounted, the men, fist by fist, took up the slack in the thongs that tethered her, until suddenly; they swiftly bound her hand and foot and lifted her over their heads, captured female slave, displaying her bound arched body to the tables.
There were cries of pleasure from the tables, and much striking of the right fist on the left shoulder.
She had been truly superb.
Then the men carried her before my table and held her bound before me. "A slave," said one.
"Yes," cried the girl, "slave!"
The music finished with a clash.
The applause and cries were wild and loud.
I was much pleased.
Raiders of Gor: page 228

Tether Dance
Basics
Tether
Slave uses the tether throughout the dance
She may fight it, caress her body with it, confine herself with it
Done both standing and on the floor
This dance is similar in some ways to the dance of the six thongs and the pole dance. The girl is tethered to a slave stake. She may then either fight the tether or love it. The tether may confine her body or caress it. The girl may also incorporate the slave stake in her dance so it becomes similar to a pole dance as well.

I jerked the tether on her throat. "This is a tether," I said, "It is to be well incorporated in your dance. You are a tethered slave. Do not forget it. You may fight the tether, you may love it. It may confine your body; you may use it to caress your body, an invitation to your master, a surrogate symbol of his domination of you. You need not dance always on your feet. A woman can dance beautifully on her knees, moving as little as a hand, or on her back, or belly or side. In all things do not forget that you are a slave."
"Are you now commanding me to dance before you?" she asked.
"Yes," I said, "you dance now as a commanded slave. And if I am not well pleased have no fear but what you will be well beaten, if not slain."
"Yes, Master," she said
I then struck my hands together, and, terrified, the girl danced. She had not been taught the tether dance, one of the most beautiful of the slave dances of Gor, but she improvised well. Indeed, it was hard to believe that she had not had training. I am inclined to believe that the need dances and display dances of the human female may be, at least in their rudiments, instinctual. I suspect there is a genetic disposition in the woman toward this type of behaviour and that certain of the movements, closely associated with luring behaviour and love movements, may also be genetically based. One reason for supposing this to be the case is that a girl's growth in certain forms of dance skills does not follow a normal learning curve. It is rather like the human being's ability to acquire speech, which also does not follow a normal learning curve. It seems reasonably likely that facility in acquiring speech, which would have enormous survival value, has been selected for. Similarly, a woman's marvellous adaptability to erotic dance may possibly have been selected for. At any rate, whatever the truth may be in these matters, feminine women, perhaps to the horror of their more masculine sisters, seem to take naturally to the beauties of erotic dance. At the very least, perhaps inexplicably, they are marvellously good at it. These genetic dispositions, of course, if they exist, can be culturally suppressed.
I watched the girl dance. She was quite good.
"Now you are becoming a woman," I told her. She knelt on one knee, her right; her left leg was flexed; the tether was taken, in a turn, about her left thigh; her hands, too, were on her left thigh; her head was down, but turned toward me; her lip trembled. "Continue to dance, Slave," I told her.
"Yes, Master," she said.
I watched her, and marvelled. It is interesting to note that such movements, those of slave dances, despite the inhibitions of rigid cultures, may occur in a girl's sleep, and may even occur, almost spontaneously, when she, nude, alone, passes before a mirror in her bedroom. How shocked she may be to suddenly see her body move as that of a slave. Could it have been she who so moved? Later, perhaps to her surprise, she finds herself standing before the mirror. She is naked, and alone. Then, perhaps scarcely understanding what is occurring within her, she sees the girl in the mirror has begun to dance. The movements are not dissimilar perhaps to those of women who, thousands of years ago, danced in firelit caves before their masters. Then, knowing well that it is she herself who is the dancer, she dances brazenly, boldly, before the mirror. Well does she present her bared beauty before it in the movements, the attitudes and postures of the female slave. Then perhaps she falls to the rug, scratching at it, pressing her belly to it. "I want a Master," she whispers. I now stood up. My arms were folded.
The girl now was upon her knees at my feet, the tether on her neck slung back behind her to the slave stake. Still in her dance, she began to lick and kiss at my body. I then took her by the upper arms and held her, half lifted from her knees, before me. "Please do not whip me," she begged.
I then, by the upper arms, dragged her to the side of the slave stake. I put her on her knees there. She looked up at me. "You danced well as a slave," I said.
Explorers of Gor - Page 360

Tile Dance
Tile Basics

She dances the restlessness and misery of a love-starved slave
Moves, twists, squirms as if completely alone
The Master supposedly surprises her
She tries to suppress her need
She surrenders pride and begs for His touchTile dance: This dance is usually performed on red tiles beneath the slave ring of a master's couch. The dancer is commonly chained to the slave ring. The dance is performed on the girl's back, stomach and sides. It signifies the restlessness and misery of a love-starved kajira. A premise of the dance is that the girl believes she is alone. She will move and squirms in her need. The master will then supposedly surprise her and she will try to hide the torment of her need. She will fail at this and eventually surrenders her pride. She will finally writhe openly, begging him to touch her, to rape her.

"I hear from the chain master," said Samos, "that you have learned the tile dance creditably." The tiny cups and glasses shook on the tray. "I am pleased," she said, "if Krobus should think so." The tile dance is commonly performed on red tiles, usually beneath the slave ring of the master's couch. The girl performs the dance on her back, her stomach and sides. Usually her neck is chained to the slave ring. The dance signifies the restlessness, the misery, of a love starved slave girl. It is a premise of the dance that the girl moves and twists, and squirms, in her need, as if she is completely alone, as if her need is known only to herself; then, supposedly, the master surprises her, and she attempts to suppress the helplessness and torment of her needs; then, failing this, surrendering her pride in its final shred, she writhes openly, piteously, before him, begging him to deign to touch her. Needless to say, the entire dance is observed by the master, and this, in fact, of course, is known to both the dancer and her audience, the master. The tile dance, for simple psychological and behavioural reasons, having to do with the submission context and the motions of the body, can piteously arouse even a captured, cold free woman; in the case of a slave, of course, it can make her scream and sob with need.
Explorer of Gor, Page 13