Chapter Six focuses on the figure of the orchēstris (sympotic female dancer) in the Greek cultural and literary imagination. Since these women have received little attention as a distinct category of performer, I begin by surveying both visual and textual evidence to build up an understanding of how orchēstrides were eroticized, objectified, and largely silenced by extant Greek sources. I then argue that both Xenophon’s Symposium and Theopompus’ On the Funds Plundered from Delphi use the figure of the orchēstris to address questions about gender, social order, agency, and authority. I show that these two strikingly different texts (philosophical and historical) both hint at the unsettling power of the attractive yet unruly female dancer.