English
...pa'o. From the twelve matters, the first is the three rounds of dance: After the previous obstacles have been expelled and the musical instruments have been put down, everyone holding a bhan phur (skull drum and ritual dagger), in order to level the ground, establishes it through three rounds of dance. Then the signal "First round of dance" is given. After the single beat of the music, lifting the right foot, entering the musical gait, and then circling as appropriate. Second round of dance, then extending both hands outwards, placing the tips of the right and left feet in a circle of iron. At the four large beats, the body rotates to the right, behind the dora (a type of dance movement), at the three small beats, performing the wide lotus (a type of dance movement) pouring. At the four large beats, the feet reverse in the circle of iron, the body rotates to the left, at the three small beats, inside the dora, performing the wide lotus pouring. Then lowering the left foot towards the direction of movement, entering the musical gait. Third round of dance, the left foot rotates to the left of the circle of iron, outside the dora, and then reversing, rotating to the right, inside performing the wide lotus pouring, and lowering the right foot to the side, entering the musical gait. Second is, in order to generate the dharmadhatu (sphere of reality), to perform circling three times. Then extending both hands outwards, swaying and standing tall to the right and left. The complete four lotuses (a type of dance movement). From the small dzam (a type of drum sound or movement), lifting the right foot, at the five large (beats) of the left sway, from seven onwards rotating to the right, dropping in the four directions. The fifth time dropping forward with standing tall, and beginning the complete jumping lotus (a type of dance movement). Single beat of music. From the large movement pause, entering the musical gait. Third is, in order to bring the apparent and existent (phenomena and existence) under control, to perform the swaying three times. Swaying and standing tall. At the end of the lotus circling of the complete jumping lotus, changing the hand implements, and pulling the right foot back. At the third small (beat) of the two drum beats, both hands from the small lotus dzam (a type of drum sound or movement), at the three even smaller musical clashes, the left hand resting on the waist. At the three "sbir sbram" (a type of sound or movement), lifting and lowering the right foot, performing one standing tall sway in the left, right, and center, and then entering the musical gait. Fourth is, in order to inspire the courage of the dakinis, to perform shaking three times. Swaying and standing tall. At the beginning of the complete four lotuses, changing the hand implements. From the small dzam (a type of drum sound or movement). At each of the four large drum (beats), extending the right and left feet alternately, shaking in the right, left, and center, and in the interval of each, performing "sbram sbir sbram" (a type of sound or movement).
Chinese
向左右扭动做摇摆动作后，最后向右倾斜。从跳跃步的意义开始，一个宽步和放脚的单拍演奏。从生起步的大间隔开始，演奏步。第五是：为了勾召破誓言者的命，要低头三次。摇摆动作。从四步走的意义开始，一个宽步和放脚。从小“ཛམ་”。手扶腰，像勇士生起步那样，向左右中摇动时，每次稍低头后。向右倾斜。跳跃步走。单拍演奏。从大动作开始，演奏步。第六是：为了呼唤护法，要念诵“སྤྱུགས་པ་”三次。摇摆动作。四步走。从小“ཛམ་”。双手的无名指和小指用拇指按住，伸出中指转向嘴边，随着四声大鼓点，向中、右、左交替摇动并每次念诵“སྤྱུགས་པ་”。向右倾斜。跳跃步走。单拍演奏。从大动作开始，演奏步。第七是：为了加持上方，要画一个八辐轮在空中。摇摆动作。在完整的四步走结束时，并将右脚向后拉。从小步的三个“ཛམ་”。左手扶腰，右脚放在左大腿上，向左向上摇动，向右绕圈，直到八次单击，用普巴杵尖向上画八辐的方式缓慢绕圈后。松开并收拢。跳跃步走。单拍演奏。从生起步的小间隔开始，单拍灵活步。第八是：为了加持中间方向，要横向画八吉祥符号。摇摆动作。四步走。其他如前，只是用普巴杵尖横向指示的方式画。第九是：为了加持下方，要在地上画一个八瓣莲花。其他如前，只是用普巴杵尖向下指示的方式画。之后从大间隔开始，演奏步。第十是：用金刚半步寻找地面。摇摆动作。从“སྦྲམ་སྦྲམ་”的乐句。改变为四拍。在四拍的第二拍，从跳跃步的意义的宽步和放脚以及抬起左脚的乐句。在四拍的第三拍的每一拍。将普巴杵放在手中。放开宽步。配合双手在心间交叉。
English
After making a swaying movement of twisting to the right and left, finally leaning to the right. Starting from the meaning of 'going with a jumping step', one wide step and placing the foot down, playing a single beat. From the large interval of the 'generating step', the playing step. The fifth is: In order to summon the life-force of those who have broken their vows, one should bow the head three times. Swaying movement. Starting from the meaning of 'going with a four-step', one wide step and placing the foot down. From the small 'dzam'. With hands resting on the hips, like the 'heroic generating step', while shaking to the right, left, and center, after making a slight bow of the head each time. Leaning to the right. Going with a jumping step. Single play/beat. From the large movement, the playing step. The sixth is: In order to summon the oath-bound ones, one should utter 'spyugs pa' three times. Swaying movement. Going with a four-step. From the small 'dzam'. Pressing the ring finger and little finger of both hands with the thumb, extending the middle finger and turning it towards the mouth, to the four large drum beats, shaking alternately to the right and left towards the center and uttering 'spyugs pa' each time. Leaning to the right. Going with a jumping step. Single play/beat. From the large movement, the playing step. The seventh is: In order to bless the upper direction, one should draw an eight-spoked wheel in the sky. Swaying movement. At the end of the complete four-step, and drawing the right foot back. From the three 'dzam' of the small step. Resting the left hand on the hip, placing the right foot on the left thigh, with a left upward shake, circling to the right, up to eight single strikes, after slowly circling in the manner of drawing eight spokes upwards with the tip of the ritual dagger. Release and gather. Going with a jumping step. Single play/beat. From the small interval of the 'generating step', single beat flexible step. The eighth is: In order to bless the intermediate direction, one should draw the eight auspicious signs sideways. Swaying movement. Going with a four-step. Other than that, as before, in the manner of drawing with the tip of the ritual dagger pointed sideways. The ninth is: In order to bless the lower direction, one should draw an eight-petaled lotus on the ground. Other than that, as before, in the manner of drawing with the tip of the ritual dagger pointed downwards. Afterwards, from the large interval, the playing step. The tenth is: Searching the ground with a half-vajra step. Swaying movement. From the phrase 'sbram sbram'. Changing to four beats. At the count of two of the four, from the phrase of the meaning of 'going with a jumping step' with a wide step and placing the foot down, and lifting the left foot. At each of the three counts of the four. Placing the ritual dagger in the hand. Releasing the wide step. In conjunction with crossing the hands at the heart.
Chinese
从那里依次，左腿向后收，右（脚）在行进方向的左、右、中心处放下，寻找角落。在此状态下，配合手莲花转，在四次大击打的第一次，右腿以跳跃步向右放下，并从左抬起放下的节奏中，说“一”，右腿向前放下，在依靠铁箭和手叉腰的状态下，说“二二”，在那里摇摆，但左腿转回，像之前一样寻找角落，然后最终向左跳跃，依靠手叉腰，说“一”，左腿向前放下，然后说“二二”，进入四击摇摆步。第十一是：从摇摆步左（脚）的第三（拍）开始，以金刚伸展步平息地面。在两次四击打的第一次，向右，在第二次的一二（拍），向左摇摆。从三四（拍）开始，以取半数计算，在四数中的二二（拍），完成每一次宽莲花转和放置，在取完整四莲花的最后莲花转时，右腿绕脐后，像右腿在行进方向的半步一样寻找角落，并且中心角落完成时，在一（拍）放下右腿。在二二（拍），举起bhan phur并抬起左腿，用右（脚）的脚跟摇动将脸转向普遍方向，用左腿寻找三个角落，然后最终向左跳跃，像之前一样进入四击摇摆步。第十二是：从摇摆步左（脚）的第三（拍）开始，以金刚拥抱步加持大地。在四数中的两个半数处摇摆。从跳跃莲花行进开始，从宽莲花到取（拍）之间像半步一样，但是右腿在do ra内寻找三个角落。一。在二二（拍），像伸展一样环绕，并且用左（腿），向普遍方向寻找三个角落。在一（拍）放下左（腿）。在二二（拍），抬起右（腿），并且在后面，用右（腿），寻找三个角落。像之前一样环绕，并且用左（腿）在行进方向寻找三个角落，然后最终向左跳跃，像之前一样进入摇摆步。在此状态下，从右（脚）的第三（拍）开始，说“从跳跃莲花行进开始”，进行四击摇摆，宽莲花转和放置。完成这些节奏后，从行进步的大间隔处，进入节奏步。第二，正行：从生成所依和能依两者中，第一的总结是：
English
From there, sequentially, the left leg is drawn back, and the right [foot] is lowered to the left, right, and center of the direction of movement, seeking the corner. In that state, in accordance with the hand lotus-turning, at the first of the four large beats, the right leg is lowered with a jumping step to the right, and from taking the left lifting-lowering rhythm, saying "one", the right leg is lowered forward, and in the state of relying on the iron arrow and hand on hip, saying "two two", swaying there, but turning back with the left leg, seeking the corner as before, and finally jumping to the left, relying on the hand on hip, saying "one", the left leg is lowered forward, and saying "two two", enters the four-beat swaying walk. The eleventh is: From the third [beat] of the left [foot] in the swaying walk, pacifying the ground with the vajra extended walk. In the first of the two four-beats, to the right, and in the one-two of the second, swaying to the left. Starting from three-four, counting by taking half the count, at the two-two of the four count, performing the wide lotus-turning and placing, completing each, and when taking the last lotus turn of the complete four lotuses, after the right leg circles the navel, seeking the corner like a half-step of the right leg in the direction of movement, and the center corner is completed, at one, the right leg is lowered. At two-two, raising the bhan phur and lifting the left leg, turning the face towards the universal direction with a heel shake of the right [foot], seeking three corners with the left leg, and finally jumping to the left, entering the four-beat swaying walk as before. The twelfth is: From the third [beat] of the left [foot] in the swaying walk, blessing the ground with the vajra embracing walk. Swaying at the two halves of the four count. Starting from the jumping lotus going, from the wide lotus up to taking, it is like a half-step, but the right leg seeks three corners within the do ra. One. At two-two, circling like an extension, and with the left [leg], three corners towards the universal direction. At one, the left [leg] is lowered. At two-two, lifting the right [leg], and behind, with the right [leg], three corners. Circling as before, and with the left [leg], seeking three corners in the direction of movement, and finally jumping to the left, entering the swaying walk as before. In that state, starting from the third [beat] of the right [foot], saying "starting from the jumping lotus going", performing the four-beat swaying, wide lotus-turning and placing. Having performed these rhythms, from the great interval of the moving walk, enters the rhythmic walk. Second, the main part: From the two: generating the support and the supported. The summary of the first is: