  
Virgin Dance in Brundisium
"Do you beg now to dance before your first use Master?" asked Mirus.
"Yes, Master," I said.
"And before the guests of Hendow?" he asked.
"Yes, Master," I said.
"And before all present?" he inquired.
"Yes, Master!" I said.
"Adorn her," said Mirius.
"Ina," called Tupita. "Sit," she said then to me,
"with your hands on the floor beside you, leaning forward, your right leg
advanced."
Ina came forward from the back through the beaded curtain, with a flat,
shallow, box. Tupita and Sita removed the leather cuffs from my wrists.
There are some three senses of the expression "virgin dance" on
Gor. There is a sense in which it is a kind of dance, rather than a particular
dance, which is deemed appropriate for virgins. In that sense I was not expected
to perform a "virgin dance." One would seldom see such dances in
taverns. The second sense is the obvious one in which it is a dance danced by a
virgin, and usually just prior to the loss of her virginity. In that sense, it
could be almost any dance which serves the purpose of displaying the girl before
her initial ravishing. The third sense of the term is that of a specific dance,
or type of dance, most often, interestingly, not even danced by a virgin, but
usually by an experienced slave. It is not exactly a story dance, but more of an
emotional or attitudinal piece, more in the nature of a "role dance,"
a dance in which the slave dances as though she might be a virgin, but knows she
is to be ravished, and that she is expected to be pleasing. The dance I was
expected to perform was, I suppose, a "virgin dance" in both the
second and third senses of the term. Mirius, paradoxically, speaking obviously
in the third sense of the term, had told me that I would do better at this sort
of dance when I was no longer a virgin.
I felt metal anklets being thrust on my ankles by Tupita and Sita. They put
several on each ankle. They then, similarly, placed narrow bracelets on both my
wrists, several on each wrist. A long belt of cord, to which were attached
numerous metal disks, suspended and shimmering, was then looped twice about me,
the first loop secured high, and tight, at my waist, and the second loop, a
larger loop, a framing loop, was secured in such a way, in the back, that it
would hang quite low on my belly, well below my navel. The purpose of this belt
was to call attention to, and enhance, by sound and sight, the movements of the
hips and abdomen. With the slave beads I already wore I felt unutterably
displayed, and barbaric. I could not move now without the sounds of the beads,
the anklets and bracelets, the shimmering belt with its two loops.
"Stand," said Tupita.
I did.
The men gasped with pleasure. I was frightened.
"Prepare to dance, slave," said Tupita.
"Good," said a man.
I stood then with my hands lifted over my head, the backs of my hands facing
one another, my knees flexed. It is a common beginning position in slave dance.
The musicians readied themselves.
I looked out on the men. These were not men of Earth, defeated and tamed by
propaganda and lies. These were Gorean men, men like lions. I stood before them,
weak and helpless, a woman from Earth, now a collared slave who must dance for
their pleasure.
The czehar player, sitting cross-legged, now had his instruments across his
lap. He was the leader of the musicians. He had his horn pick in hand.
I stood barefoot, naked, save for collar and adornments, on the dancing floor
of a low-ceilinged Gorean tavern. I must prepare to please masters.
"Are you ready?" asked the leader of the musicians, the czehar
player.
"Yes, Master!" I said, eagerly
"Aii!" cried a fellow, pleased, as I began to dance.
The music was rich about me.
I danced, as the slave I was.
"Here, slut, here!" called more than one man
I teased them, dancing close to them, swaying, my belly alive for them, with
the jangling metal pieces, the anklets clashing on my ankles, the bracelets
sliding and ringing on my wrists, and then as they attempted to seize me, drew
back, backing away, or whirled, with a swirl of beads, away from them. I picked
one man after another out of the audience, seeming to dance my beauty most
meaningfully to him. Perhaps he would be my use master. I did not know.
"Several began to keep the time with their hands, clapping them
together.
Suddenly in my dance it seemed I was a virgin, reluctant and fearful,
terrified in the reality in which she found herself, but knowing she must
respond to the music, to those heady, sensuous rhythms, to the wild cries of the
flute, to the beating of the drum. I then danced timidity, and reluctance and
inhibition, but yet reflecting, as one would, in such a situation, the commands
of the music. I examined in dismay the beads about my neck, the cords at my
waist, my barbarically adorned anklets and wrists. I touched my thighs, and
lifted my arms, looking at them, and put my hands upon my body, as though I
could not believe that it was unclothed. I pretended to shrink down within
myself, to desire to crouch down, and conceal and cover my nudity. but then I
straightened up, fearfully, as though I had heard commands to desist in such
absurdities, and then I extended my hands to the sides, to various sides, as
though pleading for mercy, to be released from the imperatives of the music, but
then reacted, drawing back, as though I had seen the sigh of whips or weapons.,
The kaska player, alert to this, reduced the volume of his drumming, and then,
five times, smote hard upon the taut skin, almost like the cracking of a whip,
to which I reacted, turning to one side and another, as though such a
disciplinary device had been sounded menacingly, on all sides, in my vicinity,
and then I continued to dance, helpless before the will of masters. Then, as the
dance continued, I signified by expression and movement my curiosity and
fascination with what I was being forced to do, and the responses of my body,
reconciled now to its reality, helplessly obedient now to the music.
I suddenly by expression and movement, an almost involuntary contortion of my
belly, seemingly startling me, and frightening me, apeared to suddenly sense, or
glimpse, my sexuality.
"Ah," said a man, appreciatively.
I approached him in the dance, and then others, my belly seeming to register,
with its jangling accouterments, their presence. Each time I would draw back fro
them, but my belly, my hips, would seem to propel me again toward them, or
toward yet another. I then felt my hips, and thighs, and breasts, and belly, as
these seemed to come alive in the music. And then, throwing my head back, I
danced unabashedly as an acknowledged, aroused slave, much as I had before,
taunting them, teasing them, delighting in my power, but then, suddenly as
though I sensed my ultimate helplessness, my ultimate inability to achieve total
fulfillment without the wholeness of sexuality, without the master and the
yielding, which gave meaning to the incipient passions within me. I danced the
aroused slave who is the property of the master and begs his touch.
"Good," said a fellow.
"The slut is excellent," said another.
Then I realized suddenly that I was actually aroused. The interior of my
thighs were hot. My belly, hot and burning, seemed to beg to be touched. I do
not know, really, whether I had done this to myself in the dance, which is
possible, or if my arousal had merely come upon me in the course of the dance,
but I was aroused. I was a helpless, aroused slave! This now was no role. It was
what I was.
I returned to the back of the dancing floor, piteously, that I might sway
before my master, he in the back, by the bearded curtain, gross, loathsome
Hendrow.
Hendrow nodded to me, almost imperceptibly. Then pointing to me, and lifting
his finger twice, he indicated I should turn away, and return my dance, in the
center of the floor, facing the crowd.
I knew the music was approaching its climax, and the dance must be concluded.
I then, in the coda of my performance, danced helplessness and beauty, and
submission, surrendering myself as I, in my collar, must, into the hands and
mercies of masters.
As the music concluded I performed floor movements, and the eyes of the men
blazed, and fists pounded on the tables, and then the music was done and I lay
before them on my back, my breasts rising and falling as I fought for breath, my
body sheened with sweat, my hands beside me, palms up, my knees lifted slightly,
my right knee highest, a slave before masters.
Extra: I heard roars of triumph, shouts of pleasure. I was frightened. The
men were on their feet. There was a thunder of applause, the striking of the
shoulders in the Gorean fashion, and, too, the crashing of goblets on the
tables. I crept to my knees in the bedlam.
Dancer of Gor, page 190
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