A literary description of the Tokudashi can be found in the opening sequence of the novel
White Ninja by Eric van Lustbader; a best-selling author who
combines Eastern philosophy, martial arts and sexuality into his novels/thrillers.
Here, a Japanese man by the name of Senjin visits the 'Silk Road' club, the entrance of which is described as resembling
the inner petals of an enormous orchid or a
woman's sexual organs:
Eventually the girls emerged [unto the stage]. They wore oddly demure robes that covered them from throat to ankle so that they had the aspect of oracles or sibyls from whose mouth the fates of the men in the audience would soon be made manifest. Apart from their faces, one could not see what they looked like at all. One had, rather, to trust those gently smiling faces that looked like neither angel or vixen, but were suffused with such a maternal glow that it was impossible to find them intimidating or frightening.
Senjin concentrated his attention on one of the girls, the one closest to him. She was as startlingly young as she was beautiful. He licked his lips as if he was about to sit down to a long awaited feast.
The music had changed. It was clankier now, more obviously sexual in its beat and in the insinuation of the brass arrangement. The girls simultaneously untied their robes, let them slip to the Plexiglas stage. They wore various forms of street clothes, most of them suggestive in one way or another. Strobe lights flashed. In unison the girls began to strip, not in any Western bump-and-grind fashion, but in a series of still-life tableaux, freeze frame images held on the video of the mind. The poses, as the garments came off, were increasingly wanton, until, at length, the girls were naked.
The music died with most of the light, and Senjin could hear a restive stirring in the audience. The scent of sweat outmuscled all others now. The girl in front of Senjin had flawless skin. Her muscles had the firmness, the roundness of youth. Her small breasts stood out almost straight from her body, and the narrow line of her pubic hair would have revealed more than it concealed were it not deftly hidden in shadow.
Now the girl squatted down. In her hands were fistfuls of tiny flashlights imprinted with the name of the club, the Silk Road. She offered one to Senjin, who refused. But immediately there was a mad scramble over his back, as the businessmen lunged to grab flashlights from her hands.
Senjin could hear the clicking all around him as the tiny flashlights came on, insect eyes in a field of heaving wheat. He was sure that every man in the club was concentrating on that one spot between the girl's legs. The flashlight beams probed into those inner sanctums as the girls moved about the stage, keeping their legs remarkably wide open. Senjin watched the muscles in the girl's legs bunch and move as she slowly scuttled around the entire perimeter of the stage as easily as if she were a contortionist in a circus. All the while, her face was serene and in control as if she were a queen or a goddess under whose spell these mortals had come. As long as she held her legs apart, for the most minute inspection, this girl, and the others above and around her, maintained a magnetic power as hard to explain as it was to define. The lights came one abruptly, dazzlingly, breaking the hushed florid silence. The rock music blared anew, the girls reclothed in their robes, once again mysterious, their faces now devoid of any emotion or involvement.
When the flashlights were gone, the girl bent her upper torso
backward until her nipples pointed up at the mirrored ceiling where
they were replicated over and over. Balancing herself on her heels as
deftly as an acrobat, the dancer began to part her legs. This was the
climax of her act, the Tokudashi, colloquially known in leering double