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Certainly the swiftness and skill with which women attain significant levels of proficiency in the art form argues for the involvement of biological latencies. It is easy to speculate, in general terms, on such latencies having been selected for in a variety of ways, for example, in noting their affinity with movements of love and luring, their value in displaying the female, their capacity to stimulate the male, their utility in pleasing and placating men, and such. The woman who can move well, who can dance well, so to speak, and please men in many ways, is more likely to be spared, and bred. Many is the woman who has survived by dancing naked before conquerors in the hot ashes of a burning city, who, perhaps ostensibly lamenting, but inwardly thrilled, sensing the appropriateness and perfection of her imminent bondage, has put forth her fair limbs for the clasp of chains and her lovely neck for the closure of the collar. Yes, I thought, there is, in the belly of every woman, somewhere, a dancer. Too, I was not unaware that in certain cases, as in that of Temione now, as she was not as yet really skilled, and was certainly untrained, the man himself might make a difference. One man might, and another might not, at her present stage, call forth the dancing slave in her. - (Vagabonds of Gor, Chapter )