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Ka'jira Dancing Hall (Safe
Haven) |
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Welcome to the City of Kasra's Ka'jira Dancing Hall.
Honorable and decent behaivor is not just expected here, it is Demanded here.
Decisions on proper behaivor are final by word of the Khan.
The Rule's of the Dancing Hall are enforced, if you violate them, you will be killed, immediately.





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Rule's of Behaivor
1) When a dance is about to begin, and through it's conclusion, no in room side coversation's will be tolerated.
2) After a dance is finished and between Dance's, in room conversation's may be done.
3) No getting up, walking around Room, demanding / asking for service from ka'jira's, etc. are allowed when a Dance is about to begin or during a Dance.
4) Ka'jira entering the room while a Dance is in progress are allowed to kneel quitely in the doorway until the Dance is consluded, and applause is finished; as soon s both are concluded, the ka'jira(or ka'jirae) may assume karta position and beg entrance. Note: Little one's, when you wait while a Dance is in progress, do not join in the applause after it is consluded, you may, after entrance is granted and you have greeted all the Free, compliment the Dancer.
5) It is appropriate for those watching a Dance to show reaction's to the Dance in room, such as:
...Watches girl dance, eyes rove over her form... , etc.
Finally, if you are told to leave this room, do so. Neither the Khan, his First and Second Sword's or any Master of Kasra take's defiance well. In point of fact, refusal to leave when told, will always have fatal result's.

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"Actresses need only be actresses. They need not be dancers. But she who is a dancer must be more than a dancer. She must be an actress, as well."
- Dancer of Gor, Pg. 194
"The true dancing girl, who has a great aptitude for such matters, and years of experience, is a marvel to behold, for she seems always different, subtle and surprising. Some of these girls, interestingly, are not even particularly beautiful, though in the dance they become so. I expect a great deal has to do with the girl's sensitivity to her audience, with her experience in playing to, and interacting with, different audiences, teasing and delighting them in different ways, making them think suddenly, by contrast, startling them, astonishing them and driving them wild with the madness of their desire for her. Such a girl, after a dance, may snatch up dozens of gold pieces from the sand, putting them in her silk, scurrying back to her master."
- Assassin of Gor, Pg. 91
"Only too obviously was this a trained dancer,
and yet, too, there was far more than training involved. Too, I speak not
of such relatively insignificant matters as the mere excellence of her figure
for slave dance, as suitable and fitting as it might be for such an art form,
for women with many figures can be superb in slave dance, or that she must
possess a great natural talent for such a mode of expression, but something
much deeper. In the nature of her dance I saw more than training, her figure,
and her talent. Within this woman, revealing itself in the dance, in its rhythm,
its joy, its spontaneity, its wonders, were untold depths of femaleness, a
deep and radical femininity, unabashed and unapologetic, a rejoicing in her
sex, a respect of it, a love of it, an acceptance of it and a celebration
of it, a wanting of it, and of what she was, a woman, a slave, in all of its
marvellousness."
- Magicians of Gor, Pg. 53 - 54

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" 'Most female slaves,' said Hassan, 'walk very proudly.
They are proud of their slavery, and their mastery by men. They have learned
their womanhood. It has been taught to them. In their way, though imbonded,
totally, I suppose they are the truest and freest of women. They are closest,
perhaps, to the essentials of the female, those of subservience to the masculine
will, obedience, service and pleasure. In being most themselves, utter slave,
they are most free. This is paradoxical, to be sure. Most girls, verbally,
will object to slavery, but this half-hearted, pouting, ineffectual rhetoric
is belied by the joy of their behavior.. No girl who has not been a slave
can understand the joy of it, the profundity and freedom. The objections of
girls to slavery, I have noted, are usually not objections to the institution
which, in the sweet heat of their bodies, they love dearly, and fear only
to lose, but to a given master. Given the proper master they are quite content.
In the proper collar a woman is serene and joyful.' "
Book 10, Tribesmen of Gor, pages 332 - 333
The female slave, in her excitement and beauty, is an embodiment
of sensuality, love, and service
Vagabonds of Gor Pg.260
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Chain Dance
The kajira obtains a length of chain from a Freeperson and uses it in a dance to show her submission and joy of being a slave. The chain can be wrapped around her body and the girl will writhe and fight at first, but knowing her true path as a slave in Gor, she will be submit because of her desire and the fire within her belly. In the end, she will rejoice at feeling the confinement of the chain around her slave heart.
Dance of the 6 Thongs
The girl has 6 leather thongs attached to her body at her ankles, wrists, belly, and neck. The dance begins with her capture. She will show her defiance until she is subdued by the Masters that hold her. The girl is presented to one Master, who asks her if she is slave, to which she will proudly proclaim, "la kajira!"
Gorean slave Dance
This can be done in any style a girl chooses. It typically begins with the girl seeming to be shy and timid, standing in the middle of the room, her eyes wide in fear and usually without silks. In the beginning, she fights being caught by the Master but then, under His strong hand, she feels the anger change to delicious submission as the Master subdues her and makes her His own. In the final stage of the dance, the girl will show her complete submission to the Master and her desire to please Him in all that she does. Often a chain and collar are used by the Master to "subdue" the girl.
Need Dance
This dance is typically performed in five stages.
During the first portion, the girl feigns indifference to her situation. In
the second, she slowly becomes aware of the burning desires within, and struggles
mentally to deny them. During the third stage, the girl will openly express
her desire and willingness to please the Masters that she
dances for...the girl will doubt her own worthiness, evident in her movements,
both graceful and timid. In the fourth stage, the girl will blatantly display
herself, showing her heat and need to be taken. The fifth and final stage,
the girl
openly begs to be used, needing this to make her complete.
Placatory Dance
This dance is performed to reassure the Master of the authenticity of the slaves contrition and the genuineness of her desire to do better. It is not a fixed-form dances, but is considered a 'free-form' dance, in which the slave, brings her own personality and movements, all based on her knowledge of the Master she is trying to appease.
Pole Dance
The kajira will seemingly attempt to arouse and entice the pole or "Master" with erotic movements that involve her touching and caressing "Him" (the pole), beckoning her use by "Him". This dance can be done by securing the kajira to the pole either real or imagined or the slave may remain free from the pole, swirling around in frantic and heated movements.
SA-EELA
The Sa-eela is one of the most moving, deeply rhythmic and erotic of the slaves dances of Gor. It belongs, generally to the genre of dances commonly known as the Lure Dances of the Love Starved Slave Girl. The common theme of the genre, of course, is the attempt on the part of a neglected slave to call herself to the attention of the master. The Sa-eela, usually performed in the nude, as though by a low slave, and by a girl freed of all impediments except her collar, is one of the most powerful of slave dances of Gor. This is because each girl, in her own way, brings the nature of her own body, her own dispositions, her own sensuality and needs, her own personality, to the dance.. For the woman, slave dance is a uniquely personal and creative art form. Too, it provides her with a wondrous modality for deeply intimate self-expression..
Serving (Scarf) Dance
Performed using ribbons or scarves as a form of enticement for the Master. The girl will offer to serve the Master in a most exciting manner. She typically wears a costume of scarves or uses a ribbon to arouse both herself and the Master. Falling to her knees, she offers a lustful serve of ka-la-na.
Submission Dance
Performed for the girl's true Master, each dance is different and unique, as is each Freeperson. It can be done in many ways, from the kajira allowing her hands to roam her own body in throbbing lust for her Master, to the girl writhing in desire and submitting at His feet. It is a very individual demonstration of a slave's true submission to her Master.
Tile Dance
Done on red tiles before a Master, this dance seeks to arouse Him to sexually take the girl. The slave does so by touching her own body and gesturing to Him that she is most willing to see to His every need. The dance is done completely upon the tiles often while the girl lays on her back or belly. The girl is usually attached to a slave ring below the Master's couch.
Whip Dance
This dance can involve the participation of a Master who will crack a whip above the girl's head as she dances, or, in most cases, the girl will be allowed the use of the whip and will crack it herself during her dance. It is performed to show the kajira's fear of being punished, but also to show the desire of the kiss of leather, the passion of and the fear of punishment.

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Full Credit gven to All Artists
Jashi to -x-amina-x- for the use of her words for the dance descriptions.

©Property of the City of Kasra (Khan Kane Damar
Grimblade, founder and absolute Ruler)
03/05/04 all rights reserved