English
and between casting out, except for the hanging ornaments, from the great strutting, between the consorts, a single beat, four by four, and the dharmadhatu skull-drum is beaten two and five times. The upper, middle, and lower three are beaten eight times, and the head's necklace is beaten six times, beating the 'dram', and for the numbers, after emphasizing slightly, separating the mouth (or opening), this is the excellent tradition of Se 'bro zur. For all of those, at the very last number one, when taking the 'gzhol' with a slightly smaller beat, that too is beaten with a greater increase from the 'dram'. Except for taking the 'gzhol', for all the intervals, in what is called 'dram sbir dram', the first is small, and then gradually increases in size. For the two types of 'grol bsdus gzhol stabs', after 'sbir dram', there is also one small beat. For the 'gzhol', after the main number is completed, the interval taken as 'dram' is also large. For the mandalas of wind and water, and the eight wrathful goddesses and the 'bam spro stob', are beaten five times, alternating between large and small. At that time, for what is called 'four', it is good to do a large beat with a slight limp (or pause). The vajra half-step, stretching and gathering, and the sky and earth mandalas, the skeleton fire, the gatekeepers' 'bam' vajra step, and including the 'stob 'chams' and the 'brdog 'gros', for the number four, the beginning and end are large. Sometimes, for what is called the middle one, when generally doing two by two equal beats, it is a large beat, but for the 'ldem 'gros', when entering, that itself should be a small beat. For the eight 'phra men', the four beats are alternating between large and small sounds/beats. This and the right foot of the 'gnas ma's release-gather is sometimes a large sound, but it is said that doing a medium beat is beautiful. The 'dur 'chams' of the immeasurable powerful goddesses, and the 'rol pa' and by the black snake, searching for 'bam', examining with pebbles, and carrying the leftovers and running, are mostly two beats with a limp/pause. The right swing and left swing of the pebbles, inside and the vajra step entering from the right inside, throwing the pebbles and the steps going out, are beaten four by four, large, equal, and fast. In short, for their respective mudras, when transforming, except for a few special cases, it is a large beat, and for each one's intervals, 'rol 'gros', 'ldem 'gros', etc., are small beats, and by that analogy, everywhere large sounds and small sounds emerge, and pauses, slow and fast, are done as appropriate. Generally, slow music is beautiful. This is just an illustration. The second point should also be known like this: going everywhere, above and below, the essential gathered body transformations...
Chinese
于此说明。双手内举，与左足，外举，右足向行进方向。作摇跳后，前者向外，后者向内，旋转而昂首阔步。手亦与足相合，收拢，具舞蹈之相。彼名为舞步。双手向左侧，掌心向下，向右侧，掌心向上，下垂。随二舞蹈动作，右足左足，提起放下，于手舞蹈步法之末，提起左足，随小取，以右手向左手，作内旋向上扬起。此为单击舞。以右足向前，及以左足向右，及以右足向中，以右足向左，及以左足，向中，各作宽莲花转。完成此者为四莲花。仅以右足向中及左，以左足向中及右侧，完成宽莲花转并跳跃者为跳跃莲花。于三小击，二班普尔，于心处同时，向左向右，扭转，并以左足小提起，取者彼为小扎姆。于扎姆比尔扎姆，右足及手，向右放下提起，亦向左，反之，以左足释放，及向中以莲花旋转收拢。彼名为释放收拢。右足向右拉，向行进方向，于扎姆，摇动脚跟，挥动普尔达尔。名为比尔转后，于扎姆扎姆，放下右足，左足向行进方向，拖行一步，左足及手，下垂，于比尔扎姆，班扎。向后转，左足提起放下，作此者为右下垂，反之名为左下垂。从普尔达尔左踝处，拉起，及双手向外举起，同时，右足向行进方向跳跃。于其根部，于左足拖行之尖端，放置右足跟，摇动并昂首阔步。彼名为移动步，于彼时，伸展双手为大停顿，若置于腰部则称小停顿。同样，双手置于腰部，足如舞步般行走，为单击摇摆，手亦同样，作，足如四步般，行走名为四击摇摆。四莲花、跳跃莲花、释放收拢，及舞蹈动作等与四击，及同样，若以五击束缚，彼与彼即名为彼。
English
Here is explained. Two hands raised inwards, with the left foot, raised outwards, the right foot towards the direction of movement. After making a shaking jump, the former (foot) outwards, the latter (foot) inwards, circling and strutting. The hands also matching the feet, gathering, having the appearance of a dance. That is called the dance walk. Two hands towards the left side, palms down, and towards the right side, palms up, lowering. Following the two dance movements, right and left feet, lifting and placing, at the end of the hand dance step, lifting the left, in accordance with a small taking, with the right hand towards the left hand, making an inward circle and raising upwards. This is the single beat dance. With the right foot forward, and with the left towards the right, and with the right towards the center, with the right towards the left, and with the left, towards the center, each making a wide lotus turn. Completing this is the four lotuses. With the right foot alone, towards the center and left, with the left towards the center and right side, completing the wide lotus turn with a jump is the jumping lotus. For the three small beats, two bhan phur, starting together at the heart, towards left and right, twisting, and with a small lift of the left foot, taking, that is the small dzam. For dram bir dram, right foot and hand, lowering and lifting towards the right, and also towards the left, reversing that, releasing with the left, and gathering by circling the lotus towards the center. That is known as release and gather. Right foot pulling right, towards the direction of movement, for dram, shaking the heel, waving the phur dar. After turning for bir, for dram dram, lower the right, the left foot towards the direction of movement, shuffling one step, left foot and hand, lowering, for bir dram, bhan dra. Turning back, lifting and lowering the left foot, doing this is the right lowering, reversing that is known as the left lowering. From the left ankle of the phur dar, drawing, and raising both hands outwards, together, jumping the right foot towards the direction of movement. At its root, at the tip of the left foot dragging, placing the right heel, shaking and strutting. That is known as the moving walk, at that time, extending both hands is the great pause, if resting on the hips, it is called the small pause. Similarly, resting both hands on the hips, walking like the dance walk, is the single beat sway, and similarly with the hands, doing, and like the four walk with the feet, walking is known as the four beat sway. Four lotuses, jumping lotus, release and gather, and the dance movements are with the four beat, and similarly, if bound by the five beat, that and that is known as that.
Chinese
然而，完整的跳跃莲花， 除了单次敲击外没有其他做法。 总之，队列的间隔， 如同串起的念珠般整齐。 不过于缓慢也不过于急促， 姿态不混乱，舒适且合适。 威严和抖动等身体姿态， 以神韵使其处处优美是重要的。 如此说道。 第三点也应如此了解： 任何舞蹈各自的前后， 四莲花、跳跃莲花、倾斜姿势和， 无论做何种展开或收拢，都已说明了总结词。 法界空行母、激发勇力以及， 勾召命力、呼唤护法以及， 加持上中下三处。 虚空、风和水坛城以及， 从大威严开始直到门守， 四莲花作为前行，跳跃莲花作为后续。 金刚伸展、地坛城以及， 火坛城、四莲花作为前行， 之后进入四次敲击和摇摆。 骷髅和无量宫两者， 前后两者都用跳跃莲花和， 挥手、金刚半步以及， 混合步、自在天、四事业的舞蹈， 乐器演奏以及黑蛇， 寻找尸体和占卜石子， 金刚步占卜和跺步， 这九种之前做跳跃莲花。 之后是各自旋转的步法。 散发力量之前是四莲花。 激发威德、勾召命力、呼唤护法， 主尊的左右、间隔的顶礼， 足部和璎珞、三种衣服， 大鹏金翅鸟翅膀等都做倾斜姿势。 加持上中下三处以及， 虚空坛城、大威严、小威严以及， 头部和根本手印、干颅骨装饰， 三尖、四种姓的力士舞以及， 佛母和忿怒母、女巫以及， 门守等都做展开和收拢。 任何通过见闻传承， 学习之后何时可能忘记， 只要看此就能回忆起来， 为了毫不费力地做到，应珍视持有。 如此教导。 第二部分是讲解实际的舞蹈方式： 通过前行的姿势进行普遍加持以及， 通过正行各自的姿势进行特别加持，这两种中： 第一部分的总结是： 三种舞蹈圈和生起法界， 摄集自在、空行母、激发勇力以及， 衰败的勾召命力、呼唤护法， 虚空、中间、大地三者， 加持轮、八吉祥、莲花。 通过金刚半伸展、混合步三种， 寻找、调伏、加持土地。
English
However, the complete jumping lotus, Apart from a single beat, has no other method of performance. In short, the intervals of the rows, Like strung prayer beads, are even. Not too slow, not too hurried, The postures are not confused, comfortable and proper. Majestic and shaking etc. body postures, It is important to make them beautiful everywhere with grace. Thus it was said. The third point should also be understood thus: Before and after each dance, The four lotuses, jumping lotus, leaning posture and, Whatever is done, unfolding or gathering, the concluding words have been explained. Dharmadhatu Dakini, arousing courage and, Summoning life force, invoking oath-bound ones and, Blessing the upper, middle, and lower three places. Sky, wind, and water mandala and, From the great majesty up to the gatekeepers, The four lotuses are the preliminary, the jumping lotus is the subsequent. Vajra extension, earth mandala and, Fire mandala, the four lotuses as preliminary, Afterwards enter into four beats and swaying. The skeleton and the immeasurable palace, both, Both before and after both use the jumping lotus and, Waving, vajra half-step and, Mixed step, Ishvara, the dances of the four activities, Musical performance and the black snake, Searching for corpses and divining stones, Vajra step divination and stamping step included, Before these nine, perform the jumping lotus. Afterwards are the steps of their respective circling. Before radiating power is the four lotuses. Arousing glory, summoning life force, invoking oath-bound ones, The principal deity's left and right, the prostrations in between, Feet and necklace, the three types of clothing, Garuda wings etc. all perform the leaning posture. Blessing the upper, middle, and lower three places and, Sky mandala, great majesty, small majesty and, Head and root mudra, dry skull ornament, Three points, the strongman dances of the four families and, Consorts and wrathful mothers, witches and, Gatekeepers etc. all perform unfolding and gathering. Whatever is learned through the lineage of seeing and hearing, After practicing, whenever it might be forgotten, By merely looking at this, it will be recalled, In order to perform effortlessly, it should be held dear. Thus it was instructed. The second part is explaining the actual method of dancing: By means of the preliminary postures, a general blessing and, By means of the postures of the main part, a specific blessing, from these two: The summary of the first part is: The three dance circles and arousing dharmadhatu, Gathering power, dakini, arousing courage and, Summoning the weakened life force, invoking oath-bound ones, Sky, space, earth three, Bless the wheel, the eight auspicious signs, the lotus. By means of vajra half-extension, mixed step three, Search for, subdue, and bless the ground.
Chinese
矣。从十二件事中，第一是三次舞蹈绕行：在驱逐了先前的障碍之后，放下乐器，所有人都手持班普（颅骨鼓和普巴杵），为了使地面平整，通过三次舞蹈绕行来确定。于是发出“第一次舞蹈绕行”的信号。在单次敲击乐器之后，抬起右脚，进入乐步，然后根据情况绕行。第二次舞蹈绕行，于是向外伸展双手，将右脚和左脚的脚尖置于铁圈中。在四次大敲击时，身体向右旋转，在多拉（一种舞蹈动作）的后面，在三次小敲击时，进行宽莲花（一种舞蹈动作）的倾倒。在四次大敲击时，脚在铁圈中反转，身体向左旋转，在三次小敲击时，在多拉的内部进行宽莲花的倾倒。然后将左脚放下朝向行进方向，进入乐步。第三次舞蹈绕行，左脚在铁圈的左侧旋转，在多拉的外部，然后反转向右旋转，在内部进行宽莲花的倾倒，然后将右脚侧向放下，进入乐步。第二是，为了生起法界，进行三次绕行。于是向外伸展双手，向右向左摇摆挺立。完整的四莲花（一种舞蹈动作）。从小的扎姆（一种鼓声或动作），抬起右脚，在左摇摆的五次大（敲击）时，从七次开始向右旋转，向四个方向落下。第五次向前挺立落下，并开始完整的跳跃莲花（一种舞蹈动作）。单次敲击乐器。从大的行进停顿处，进入乐步。第三是，为了摄伏显有（现象界和存在界），进行三次摇摆。摇摆挺立。在完整的跳跃莲花的莲花绕行最后，更换手持物，同时右脚向后拉。在两次鼓敲击的第三次小（敲击）时，双手从小的莲花扎姆（一种鼓声或动作）开始，在比那更小的三次乐器交击时，左手依靠在腰部。在三次“斯比尔斯布拉姆”（一种声音或动作）时，抬起放下右脚，在左、右、中央进行一次挺立摇摆的摇摆，然后进入乐步。第四是，为了激发空行母们的勇气，进行三次摇动。摇摆挺立。在完整的四莲花开始时，更换手持物。从小的扎姆（一种鼓声或动作）开始。在每一次四次大鼓（敲击）时，右脚和左脚轮流伸展，在右、左、中央进行摇动，在每一次的间隙中进行“斯布拉姆斯比尔斯布拉姆”（一种声音或动作）。