  
Need Dance
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 beome 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 satisy her. She must strive to be
pleasing. If she is not good enough she may be chained, unfilfilled, 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
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