slave positions
all slaves will know and be able to show these positions at any time

Stand:
To stand as a Gorean slave can be best described by this passage from the book, Slave Girl of Gor, p. 249. "He looked me over. I blushed, under Gorean appraisal, I only wore my tether. "Stand as a slave," he said. I stood beautifully, back straight, head high, belly sucked in, hip turned. No woman can stand more beautifully than as a gorean slave girl. "Excellant," said Ladletender, smacking his lips. "Master is pleased," I said. "Yes," he said. "The slave too, is then pleased," I said.

Nadu:
The first position a slave should learn, this is the position a slave or kajira (female slave in Gorean) or kajirus (male slave in Gorean) uses to kneel before her Master (or Mistress,) her head held proudly high, eyes downcast in respect but not shame, knees spread wide open, shoulders back keeping her back straight or arched in a subtle manner to move the breasts outwards in an offering thrust. Her hands rest on her thighs. Some Master's prefer the palms to be facing upward, displaying the offer of submission and service.

Tower nadu:
In this form of nadu, she kneels the same way, but with her palms down and her knees modestly together. The position may also be done with the arms crossed at the wrists before the inahan or the hands may be holding something, such as a tablet for inscribing ciphers, etc. This is referred to as the Tower Slave Position and is typically reserved for underage or white-silk slave girls, Free Women including those in temporary service to pay a debt, or slave girls who serve their Master in a nonsexual way.

Belly:
In this position, she falls to the floor face down, her forehead resting flat on the surface, or her left cheek pressed to the floor, her arms at her sides or clasped behind her back, sometimes bound, with her knees never touching and crawls to the Master on her belly. It could be used for punishment, to display submission, or as part of an erotic dance.

Crawl:
The girl gets down on all fours, palms to elbows flat to the floor, her hips in the air with her forehead or cheek close to but not touching the floor and crawls to the Master's feet. This approach allows a girl to display her body to the Master in a variety of enticing ways.
 
 

Bara:
This position may be used as punishment, display, or for transporting a girl. She lays on her stomach, face down and with her cheek and breasts pressed to the floor, face turned to the left with her wrists crossed behind her back. Her ankles are usually crossed, as well, as if for binding. The Master may have the binding fibers at His belt, use those wound around her waist and holding her garment, or even bid the inahan to approach with them held in her teeth.
 
Gorean bow:
This position may be used in inventive serves, as an alternative to table, and is part of the "Belt Dance." She kneels in nadu position and bends her body backwards, her head to the floor, she places her hands by her head palms down and lowered to the floor, then pulls up into a back bend. The position is painful and not maintained for longer than a few minutes.
her head then touched the furs, her body a cruel, helpless bow. p. 185, Assassin of Gor (within the belt dance of Phyllis Robertson)

Sula:
She lays on her back, her hands at her sides, palms facing upward. Her legs are spread wide open... she awaits Master's inspection. This position may be used to confirm white-silk status.

Sula-ki:
Similar to the sula position, except once she has assumed the sula position she slowly lifts her hips up off the floor, as if beckoning him with her body, encouraging her sexual use by him.

Lesha:
This position is used to attach a leash. She kneels, her back to her Master, with her chin lifted and head turned to the left, offering her collar for leashing. Her wrists are behind her back ready for slave bracelets to be used or her wrists bound with fibers. In high lesha, the girl stands, her feet parted so the knees do not touch, her eyes lowered.
 
Bracelets:
This position is used to put on slave bracelets or manacles. She places her hands behind her back, her shoulders pushed back and her breasts thrust outward, her hands clasped tightly with the wrists touching behind her back. She also may be hooded or gagged from this position. The position may be ordered as low, kneeling, or high, standing, as in lesha.
 
 

Collaring Position:
Also called "the Position of Female Submission." She kneels at the Master's feet and leans her body back, sitting upon her heels, with her arms extended upward, crossed at the wrists, and her head beneath them lowered in supplication. With the wrists uncrossed but holding a serving container, refreshments are typically served in this manner.
 

Submission:
She kneels, bending at the waist with her hips rising into the air and places her left cheek to the floor. She might, at His with take her Master's right foot and place it upon her neck, moving her arms behind her back, crossing them at the wrist. A Collared slave often greets her Master in this way. To touch a Master requires permission, normally.

Obedience position:
She falls to the floor upon her belly, face down before the Master. She turns her head and places her cheek against his boots, kissing them lightly in a gesture of love and submission. She may also lick them or dust them with her hair in this manner.

Karta or begging position, also called obedience:
She kneels on the floor, her thighs spread widely to allow her to lay her chest upon the floor, she leans forward placing her breasts and forehead against the floor, she reaches out with her arms fully extended, palms against floor. Her hips are in the air, or she is sometimes on her belly. Her ankles may be crossed or uncrossed. This is the position that shows utmost respect and from which requests are made from. All slaves should become very familiar with the manner in which their Master wishes this position assumed.

Suga:
This is very similar to karta but in this her wrists are crossed. She kneels, knees wide apart and lays her head to the floor, one cheek to the floor, arms stretched over head and wrists crossed, awaiting His permission to speak.

Prostrate:
This is used when waiting permission to enter a room and sometimes, to speak. The inahan kneels touching her forehead to the floor stretching her arms out before her with palms down and fingers spread.
 

Table:
Used when a Master is in need of a table to rest his drink or to just rest his feet or elbows, she goes to all fours, locking her elbows, making her back smooth and level, holding her head level as well, eyes straight ahead. It may be used for punishment and can be tiring.

Whipping position:
She first assumes the Nadu position, though with her arms crossed in front of her over her breasts. She then leans forward and places her head to the floor, first sweeping her hair forward over her shoulders to one side leaving her back exposed to the whip.

Slaver's kiss:
She falls to the floor upon all fours, and lowers her cheek to the ground, with her buttocks thrust upward and her thighs widely spread, in she-sleen position, exposing herself fully in preparation for the caress of the leather against her body. Her reaction to the touch of the coiled whip tells the Master if the slave is "vital" or alive.

She-sleen:
Also known as "assuming the modality of the she-quadruped." She falls to her hands and knees, her head down on the floor, her hindquarters thrust high for viewing and/or her Master's pleasure.

Leading position:
She stands and moves behind her Master, bending at the waist her cheek resting at His belt or hip. She places her hands behind her. This allows Him to easily lead her by her hair or collar while walking.

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