Gor versus earth - Part 44

  • Tal dear reader,

    In our series of dances today I want to talk about the virgin dance.

    On earth, once a year, in the heart of South Africa's Kingdom of the Zulu, thousands of people make the long journey to one of His Majesty’s, the King of the Zulu nation's royal residence at KwaNyokeni Palace. Here, in Nongoma, early every September month, young Zulu maidens will take part in a colorful cultural festival, the Royal Reed Dance festival - or Umkhosi woMhlanga in the Zulu language.

    The Reed Dance is a celebration of the Zulu nation and performs the essential role of unifying the nation and the king, who presides over the ceremony.

    The festival takes its name from the riverbed reeds, which are the central focus of this four-day event. The reed-sticks are carried in a procession by thousands of young maidens who are invited to the King's palace each year. More than 10 000 maidens, from various communities throughout the province of KwaZulu- Natal, take part in the Reed Dance ceremony, with the rest of the Zulu nation helping them to celebrate their preparation for womanhood.

    All girls are required to undergo a virginity test before they are allowed to participate in this royal dance.

    The proof that she is a virgin is that she is proud of her pure body. 

     

    On Gor,

    "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. Mirus, 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."

    Dancer of Gor, Page 190

    I wish you well,

    Yahto

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