"There were bells, three rows of them, small and golden, thronged tightly about the girl's left ankle. The entire floor of the chamber,
shining, richly mosaiced, broad, reflecting the torchlight, was a map. I watched the girl. Her knees were slightly bent. Her weight
was on her heels, freeing her hips.   Her rib cage was lifted, but her shoulders, relaxed, were down. Her abdominal muscles, too,
were relaxed, loose. Her chin was lifted, haughtily. She did not deign to look at us. Dark hair flowed behind her.   The left ankle of
the girl, under the bells, the brown thong, the  golden metal, was tanned. The girl wore Gorean dancing silk.

It hung low upon her bared hips, and fell to her ankles. It was scarlet, diaphanous. A front corner of the silk was taken behind her
and thrust, loose and draped, into the rolled silk knotted about her hips; a back corner of the silk was drawn before her and thrust
loosely, draped, into the rolled silk at her right hip. Low on her hips she wore a belt of small denomination, threaded, overlapping
golden coins. A veil concealed her muchly from us, it thrust into the strap of the coined halter at her left shoulder, and into the
coined belt at her right hip. On her arms she wore numerous armlets and bracelets. On the thumb and first finger of both her left
and right hand were golden finger cymbals. On her throat was a collar. 'Yes,' said Samos.

He clapped his bands. Immediately the girl stood beautifully, alert, before us, her arms high, wrists outward. The musicians, to one
side, stirred, readying themselves. Their leader was a czehar player. He looked at the girl. He clapped his hands, sharply. There
was a clear note of the finger cymbals, sharp, delicate, bright, and the slave girl danced before us. I regarded the coins threaded,
overlapping, on her belt and halter. They took the firelight beautifully. They glinted, but were of small worth. One dresses such a
woman in cheap coins;she is slave. Her hand moved to the veil at her right hip. Her head was turned away, as though unwilling
and reluctant, yet knowing she must obey. The dancer was now moving slowly to the music.  I turned to watch the dancer. She
danced well. At the moment she writhed upon the 'slave pole,' it fixing her in place. There is no actual pole, of course, but
sometimes it is difficult to believe there is not. The girl imagines that a pole, slender, supple, swaying, transfixed her body, holding
her helplessly. About this imaginary pole, it constituting a hypothetical center of gravity, she moves, undulating, swaying,
sometimes yielding to it in ecstasy, sometimes fighting it, it always holding her in perfect place, its captive. The control achieved by
the use of the 'slave pole' is remarkable. An incredible, voluptuous tension is almost immediately generated, visible in the dancers
body, and kinetically felt by those who watch. I heard men at the table cry out with pleasure. The dancer's hands were at her
thighs.

She regarded them, angrily, and still she moved. Her shoulders lifted and fell; her hands touched her breasts and shoulders; her
head as back, and then again she glared at the men, angrily. Her arms were high, very high. Her hips moved, swaying. Then, the
music suddenly silent, she was absolutely still. Her left hand was at her thigh; her right high above her head; her eyes were on her
hip frozen into a hip sway; then there was again a bright, clear flash of the finger cymbals, and the music began again, and again
she moved, helpless on the pole. Men threw coins at her feet.  The dancer moaned, crying out, as though in agony. Still she
remained impaled upon the slave pole, its prisoner. The hips of the dancer now moved, seemingly in isolation from the rest of her
body, though her wrists and hands, ever so slightly, moved to the music.

Samos, with a snap of his fingers, freed the dancer from the slave pole. She moved, turning, toward us. Before us, loosening her
veil at the right hip, she danced. Then she took it from her left shoulder, where it had been tucked beneath the strap of her halter.
With the veil loose, covering her, holding it in her hands, she danced before us. Then she regarded us, dark-eyed, over the veil, it
turned about her body; then, to the misery of the blondish girl, she wafted the silk about her, immeshing her in its gossamer
softness. I saw the parted lips, the eyes wide with horror, of the kneeling, harnessed girl, through the light, yellow veil; then the
dancer had drawn it away from her, and, turning, was again in the center of the floor."   

Tribesmen of Gor, Pages 7 - 13
All rights reserved.
This research is done on the series of books written by John Norman, the comments in italics are mine and my point of view.
Woman of Gor
Artist
Fabian Perez