Chinese
转变，从四莲花空行母的宽广莲花处，如持金刚半步姿势般开始。在四数三拍中，像虚空中心一样向左做三次摇摆后，在“一、一，二、二”时，右手以类似乌卢卡的方式，像扬起钩子的姿势一样抬脚，在右侧角落做两次摇摆，并在四击一的“一、二”时，放下右脚，左脚向后收缩，双手在胸前交叉结印。在“三、四”时，解开莲花旋转手印，右脚向右旋转。从四数三拍的第一个“一、二”时，将右脚放在那里，左脚稍微滑动。在“三、四”时，像之前一样做莲花手印，右脚向左旋转。从第二个“一、二”时，左脚向左抬起、放下并滑动，在“三、四”时，做左脚向右反转的姿势。从第三个“一、二”时，右脚向右抬起、放下，到“三、四”反转之间，配合“猪面黑母具獠牙索”的信号，像之前一样做三次摇摆等其他跳神方式。手印是，在第一个“一、一”时，右手食指指尖向下指，在左手上方绕圈。在第二个“二、二”时，将同样的手印向上指，从左手内侧向外抛出，是绳索钩子捆绑的姿势。同样，跳神时发出声音的方式等也像之前一样。 “狮面红母铁钩缚”，意思是双手握拳向上，伸出食指和小指，是铁钩的手印。“狼面青黑摇铃喜”，意思是右手手臂向内弯曲，手腕向内弯曲，做出摇铃的姿势。铃母的四数三拍结束后，在解开收拢的朵拉舞圈内转身，做四击的跳跃莲花空行母的宽广莲花，进行嬉戏。从大步开始进入嬉戏的步伐。第七个是自在母的跳神，从自在天女的四种奔驰跳神莲花空行开始，摇摆、扭动，伴随着错误击打、跛足的宽广莲花抛掷，从三次嬉戏开始，右手扬起，左手放在腰间，以滑步稍微向前，左脚抬起。“从东方而来的七位瑜伽母，请您行持寂静的事业”，从这里开始加大力度，在圆形舞场中旋转行走，是
English
Transforming, from the wide lotus of the four-lotus dakini, start like the Vajra half-step posture. In the four counts of three beats, after swaying three times to the left like the center of the sky, at "one, one, two, two," the right hand, in a manner similar to Uluka, lifts the foot like raising a hook, swaying twice at the right corner, and at "one, two" of the four-beat one, put down the right foot, retracting the left foot to the back, with both hands crossed in a mudra at the chest. At "three, four," release the lotus-rotating hand mudra, rotating the right foot to the right. From the first "one, two" of the four counts of three beats, place the right foot there, sliding the left foot slightly. At "three, four," make the lotus hand mudra as before, rotating the right foot to the left. From the second "one, two," lift, lower, and slide the left foot to the left, and at "three, four," make the gesture of reversing the left foot to the right. From the third "one, two," lift and lower the right foot to the right, and between the reversal at "three, four," in coordination with the signal of "black pig-faced mother with fangs and lasso," perform three sways and other cham dances as before. The mudra is, at the first "one, one," point the fingertip of the right index finger downwards, circling above the left hand. At the second "two, two," point the same mudra upwards, throwing it outwards from the inside of the left hand, which is the posture of binding with a rope and hook. Similarly, the manner of making sounds during the cham dance, etc., is as before. "Lion-faced red mother binds with iron hooks," meaning both hands are clenched into fists pointing upwards, with the index finger and little finger extended, which is the mudra of iron hooks. "Wolf-faced greenish-black delights in ringing the bell," meaning the right arm is bent inwards, with the wrist bent inwards, making the gesture of ringing the bell. After the four counts of three beats of the bell mother are completed, turn around within the Dora dance circle that has been released and gathered, perform the wide lotus of the jumping lotus dakini of the four beats, engaging in play. Starting from the great stride, enter the playful steps. The seventh is the cham dance of the independent mother, starting from the four running cham dances of the independent goddess, the lotus dakini, swaying, twisting, accompanied by incorrect strikes, the throwing of the wide lotus of the lame, starting from three plays, with the right hand raised and the left hand placed on the waist, moving slightly forward with sliding steps, lifting the left foot. "Seven yoginis who have departed from the east, please perform peaceful actions," from here, increase the intensity, rotating and walking in a circular dance arena, which is
Chinese
拉吉玛七尊的舞蹈。 从那里跳跃莲花而去。从三种嬉戏开始，手势反转，绕成四方形，是南方的七位母亲。从南方前来的七位瑜伽母，愿您成就广大的事业！ 同样地，在角落里跳跃莲花而去，从嬉戏开始，手反转。在舞蹈场上绕成半月形和三角形，行进的是西方和北方的七位母亲。从西方前来的七位瑜伽母，愿您成就怀柔的事业！从北方前来的七位瑜伽母，愿您成就降伏的事业！像这样结合等等，解释完毕。 第八个是细面母的寻尸舞。寻尸、观察、扩展并施予力量，共有三种。首先是寻找，也有两种方式：嬉戏的步调和黑蛇盘绕的步调。第一种是从自在母的舞蹈步调中，通过尸体嬉戏来寻找，从“跳跃莲花而去开始”，左手拿取，宽莲花抛掷，从三种嬉戏开始，双手左右挥舞嬉戏，脚步快速而猛烈地滑动，以忿怒的表情，眼睛环顾四周而行进。 第二种是尸体以黑蛇盘绕的步调寻找，从“跳跃莲花而去开始”，莲花嬉戏如前，左手扶腰，右手向上挥舞，像狮子一样昂首挺胸，以滑步前进，根据情况绕圈后，双手伸展，像老鹰盘旋一样行进，像蛇一样盘旋环绕，在停顿时猛烈地敲鼓，双手嬉戏，身体蜷缩，像秃鹫一样盘旋，停止旋转。舞蹈师抓住班达的头发，拉到演奏师面前，左脚脚背朝下放置，进入禁行步，同时其他舞者抓住班达，以滑步自行前进。所有人在舞蹈师自己的班达处停止旋转，将班达面朝下放置，像舞蹈师一样进入禁行。 第二部分，有两种观察方式：用石子观察和用金刚步观察。第一种是从禁行的状态下到达各自的班达处，用尸体石子进行第一次观察，从“跳跃莲花而去开始”，从莲花嬉戏开始，在三次双击拉伸时，左手扶腰，右手摇动。
English
The dance of the seven mothers of Ra. From there, jump and go to the lotus. Starting from the three plays, the hand gestures reverse and circle into a square, these are the seven mothers of the south. Seven yoginis who came from the south, may you accomplish the vast deeds! Similarly, jump and go to the lotus at the corners, starting from the play and reversing the hands. Circling the dance floor in a crescent and a triangle, these are the seven mothers of the west and north. Seven yoginis who came from the west, may you accomplish the deeds of subjugation! Seven yoginis who came from the north, may you accomplish the fierce deeds! Combining like this, etc. Explanation finished. The eighth is the Cham dance of finding the corpse of Tramenma. Searching for the corpse, observing, expanding and bestowing power, there are three. First, in searching, there are two ways: the playful pace and the black snake coiling pace. The first is from the dance pace of Wangmo, searching through corpse play, starting from "jump and go to the lotus," taking the left hand, wide lotus throwing, starting from the three plays, the hands waving left and right in play, the feet sliding quickly and fiercely, with an angry expression, the eyes looking around and moving. The second is searching for the corpse with the black snake coiling pace, starting from "jump and go to the lotus," the lotus play as before, the left hand resting on the hip and the right hand waving upwards, strutting like a lion, moving with a sliding step, circling as appropriate. Then, stretching out both hands and moving like an eagle soaring, coiling and circling like a snake, at the pause striking the drum fiercely, the hands playing and the body curled up, circling like a vulture, stopping the rotation. The dance master grabs the hair of the Bhanda, pulls it to the front of the music master, places the left foot upside down, and enters the Zem step, at the same time the other dancers grab the Bhanda and move with their own sliding steps. Everyone stops rotating at the dance master's own Bhanda, places the Bhanda face down, and enters the Zem like the dance master. In the second part, there are two ways of observing: observing with pebbles and observing with the vajra step. The first is from the state of Zem, arriving at their respective Bhandas, using corpse pebbles for the first observation, starting from "jump and go to the lotus," starting from the lotus play, at the three double-strike stretches, the left hand resting on the hip and the right hand waving.
Chinese
然后向右后方挪动三步。在一下重击时，右手作忿怒印指向班达（bhaN+Da），伸出右腿，以枭的怒视向内做三个窥视步。从莲花座开始，以同样的方式向左后方和内部移动，只是手脚相反。从莲花座开始，双手拇指和食指相触，做抛石子的姿势，眼角看着班达（bhaN+Da），左腿先向前移动三步。从普巴杵的旗帜下，一边拉动一边做出害怕的样子，向左伸展，以四次倾斜的拉动向后退，重复三次乌鸦伸腿的步法。从内部伸展，喊着“四四”，右腿向后旋转，以缓慢的步法开始绕圈，停止旋转。用“vam”字轮进行第二次观察，跳莲花座开始。像之前一样重复。再次用缓慢的步法绕着各自的班达（bhaN+Da）旋转，停止旋转。用“vam”字轮进行第三次观察，跳莲花座开始。像之前一样重复，然后以缓慢的步法进入绕圈。后两次比前一次稍微更加投入，靠近内部的“vam”字，然后减小向外的步幅，这是不同之处。第二部分是：用缓慢的步法停止旋转。用“vam”金刚步进行观察，跳莲花座开始。随着乐器的敲击，将裙子收拢到膝盖处，蹲下。像天空中央一样，以四次重击摇动上半身三次。在四次大的摇动中，向右做三次金刚步。再次摇动三次，然后向左前方做三次金刚步，在两次四击的第一下和第二下，害怕地拉扯班达（bhaN+Da）的头发，这是犬的姿势。在第三下和第四下，嗅气味，这是食肉者的姿势。在第二次四击的第一下和第二下，翻转“vam”字，象征性地将班达（bhaN+Da）向上翻转，这是虎的姿势，逐渐增加投入，然后在第三下和第四下站起来，进入缓慢的步法。此时，金刚步的观察重复三次，第一次拉扯头发，第二次嗅气味，第三次翻转等等，这些都来自旧文献，结合鸟兽各自的姿态，进入各自微细的专注，以及忿怒
English
Then move three steps to the right rear. With one strong four-beat strike, point the right threatening finger at the bhaN+Da, extend the right leg, and take three peering steps inward with the owl's angry eyes. Starting from the wide lotus posture, move to the left rear and inward in the same manner, but with the hands and feet reversed. Starting from the wide lotus posture, with both hands touching the thumb and forefinger, make a gesture of throwing stones, and with the corner of the eye looking at the bhaN+Da, take three steps inward with the left leg leading. From the phurba flag, while pulling, make a fearful gesture, stretch out to the left, and retreat with four slanting pulls, repeating the crow stretching leg steps three times. Stretching from the inside, shouting "four, four," rotate the right leg backward, and start circling with slow steps, stopping the rotation. With the "vam" syllable, perform the second examination, starting from the jumping lotus posture. Repeat as before. Again, rotate around each bhaN+Da with slow steps, stopping the rotation. With the "vam" syllable, perform the third examination, starting from the jumping lotus posture. Repeat as before, and then enter the circling path with slow steps. The latter two times are slightly more intense than the first, going closer to the "vam" syllable inside and reducing the outward stride, which is the difference. The second part is: stop the rotation with slow steps. Perform the examination with the "vam" vajra steps, starting from the jumping lotus posture. In accordance with the playing of the instruments, gather the skirt between the thighs and sit in a squatting position. Like the center of the sky, shake the upper body three times with four strong beats. In the four large shakes, take three vajra steps to the right. Shake again three times, and then take three vajra steps inward, pointing to the left front. In the first and second of the two four-beat strikes, fearfully pull the hair of the bhaN+Da, which is the posture of the dog. In the third and fourth, sniff the scent, which is the posture of the carrion eater. In the first and second of the second four-beat strike, flip the "vam" syllable, symbolically turning the bhaN+Da upwards, which is the posture of the tiger, gradually increasing the intensity, and then stand up on the third and fourth and enter the slow steps. At this time, the examination with the vajra steps is repeated three times, first pulling the hair, second sniffing the scent, and third flipping, etc. These are from old texts, combining the gestures of various birds and beasts, entering the individual subtle concentrations, and the wrathful