【English Translation】 Puta Dance Ritual Notes - The Drum Sound Pleasing the Dharma Protectors Puta Dance Ritual Notes - The Drum Sound Pleasing the Dharma Protectors Puta Dance Ritual Notes - The Drum Sound Pleasing the Dharma Protectors. Oṃ Svasti Siddhiṃ (藏文：ཨོཾ་སྭསྟི་སིདྡྷྃ།，梵文天城體：ॐ स्वस्ति सिद्धम्，梵文羅馬擬音：oṃ svasti siddhaṃ，漢語字面意思：May there be good fortune and accomplishment). Here, regarding the notes for the Puta dance: First, the gait, subduing the three realms, the four drum beats, when all the small three and large three dance styles are completed, during the third of the four very long instrument stretches, when lifting the left foot and leaping towards the direction of origin, the right foot should make a small jump without interruption. This was repeatedly spoken by my lama, the hidden yogi Gyalsé, the mantra holder, the one with the name Drakpa. Then, the Yaksha father's single drum beat - the sun's lasso. For the first single drum beat, look into the mandala; for the second, circle from the front to the right, facing the direction of origin; for the third, face outwards; the fourth is the same; for the fifth, circle facing the direction of origin and look in that direction; for the sixth, look into the mandala. Like this, without interruption by iron hooks etc., do it three times, until the eighteen instrument sounds are finished. The Yaksha mother's double step - the moon's rays, for the first two double drum beats face the direction of travel, and for the latter two circle from the front to the right, facing the direction of origin, alternating. The Puta's three drum beats - subjugating the three realms, for the first three drum beats face the direction of travel and do a lotus spin; for the second three drum beats circle from the front to the right, facing the direction of origin, and extend the right hand outwards; for the third three drum beats, while facing the direction of origin, circle from the front, with a lotus spin, and face the direction of travel; for the fourth three drum beats, face the front and circle to the right, extend the left hand inwards, and face the direction of origin. The Bhata's four drum beats - subduing the four continents, for the first four drum beats face inwards and do a lotus spin; for the second four drum beats circle from the front to the right, face the direction of origin, and play the instrument; for the third four drum beats face outwards and do a lotus spin; for the fourth circle from the direction of origin and face inwards, twisting the waist and using both hands. The sisters' five drum beats - the five kayas manifesting wrathfully, for the five large instrument sounds face the direction of origin and rotate to the right; for the five small instrument sounds, maintain the posture of facing that direction, pass it on in sequence, and rotate to the left. Again, for the five large instrument sounds face the direction of travel
【English Translation】 Looking towards one direction and turning to the left, facing the same direction, sequentially turning to the right for the five smaller ones. Perform four large five-strikes and four small five-strikes in that manner. In the intervals between all five of those dance styles, also perform three lotus rotations and the iron-pulling action, the center of the body, the left, the right. Then, in the two swaying percussion instruments, pull iron to the left and right, then take four steps as appropriate. Then, perform the lotus rotations and iron-pulling as before, and enter the actual dances. At the beginning of the Yaksha Father's one-strike, the dancers circle the dance floor of subduing the three realms. When the dance master arrives at the center and completes the three lotus rotations and iron-pulling, do not take four steps, but enter the one-strike. At the end of the sisters' five-strikes, complete the lotus rotations, iron-pulling, and four steps as appropriate. After pulling and pushing back on the linga and performing the deity separation, during the three long notes of the instrument sounding 'sili lili ber', turn the body to the right, turn to the left, and again turn to the right. After completing the lotus rotations and iron-pulling as before, stop when the instrument makes a long ending sound, without taking four steps. Coordinating with the tunes of the witness, the deceased, and Palden Lhamo (Glorious Protector), etc., the six-strike peaceful iron hook of Senge Dongma (Lion-Faced Dakini) is: facing away, chanting 'hūṃ phat' as a foundation. On the first and second strikes, place both hands in front, palms down. On the third and fourth strikes, extend both hands to the right and fall supine. On the fifth and sixth strikes, raise both hands above the left shoulder. Again, on the first and second strikes, raise the right leg, face forward, and place both hands in front, palms down. On the third and fourth strikes, extend both hands to the left and fall supine. On the fifth and sixth strikes, raise both hands above the right shoulder. Doing this is appropriate for suppressing the end mark. Shorten the tunes of these verses, and the dancers draw closer and closer to the linga. Then, the seven-strike expanding lasso of Zik Dongma (Tiger-Faced Dakini) is: on the first of the seven strikes, jump facing outwards. On the second of the seven strikes, jump in the direction of travel. On the third of the seven strikes, jump in the direction of return. On the fourth of the seven strikes, jump facing inwards, towards the linga. On the fifth of the seven strikes, turn to the right. On the sixth of the seven strikes, turn to the left. On the seventh of the seven strikes, jump inwards, towards the linga. Then, after the verses are finished, destroy the linga with the heavy striking of the instruments. Then, the black women in accordance with this suddenly...
【現代漢語翻譯】 然後，拿起鈴和手鼓，帶著大鑼和小鼓返回。接著，將三種樂器合奏一次後放下。之後，比丘（dge slong，佛教僧侶），瑜伽士（sngags pa，修習密宗者）， 大人物（skyes chen，地位高的人）和小人物（skyes chung pa，地位低的人）們帶著小鼓返回完畢后，在敲擊大鑼三次之後，將樂器以'斯里里'的聲音演奏三次，向左、向右、向左轉動後放下樂器。然後是熊面母（dom gdong ma）的八擊鼓，以及權力的鐵鉤，伴隨著外、內、秘密的音調跳起舞蹈。在音調的吽（ཧཱུྃ，hūṃ，種子字，摧伏）的四次引導中，每次都伸出右腿並抬起。 在第一句歌詞時，朝向來處跳入朵熱（do ra，圓形區域）中。在第二句歌詞時，朝向去處跳出朵熱外。在第三句歌詞時，從右側旋轉。再次朝向去處，面朝朵熱外跳向來處。在第四句歌詞時，朝向來處，面朝內，做出向左跳躍的姿勢。然後，拿起'哇依亞'（ba'i ya'i）的九擊鼓，由領舞者帶領，普扎瓦（pu tra ba）們返回的九擊鼓，這是熊面母的九擊鼓，是猛烈的洪鐘。 這舞蹈的外、內、秘密的吽（ཧཱུྃ，hūṃ，種子字，摧伏）的四次引導中，抬起右腿，身體向右側伸展並旋轉。前兩句歌詞的右旋不必太大，中間兩句歌詞的右旋需要稍大一些。所有四句歌詞的第一個字都將右腳放在地上，所有第二個字都伸出左腿， 同時抬起，這樣做就正確了。' 這份關於普扎（pu tra）舞蹈的簡短筆記，也是在十七歲時，由恩師根本上師，持咒者扎巴·洛哲嘉燦（sngags 'chang grags pa blo gros rgyal mtshan）吉祥賢（dpal bzang po）親自在四樓的圖書館裡，對我一個人詳細傳授了關於這舞蹈的所有方式。因為自己記憶力不好，後來有些疑惑的地方，就與持咒法王（sngags 'chang chos kyi rgyal po）的舞蹈範本，以及蔣揚·圖多旺曲（'jam dbyangs mthu stobs dbang phyug）師徒們進行了比對和校正，使其變得準確。 薩迦派（sa skya pa）持咒者阿旺·貢噶索南（sngags 'chang ngag dbang kun dga' bsod nams）將此作為自己的備忘錄，愿以此使護法神們感到高興！薩瓦芒嘎拉姆（sarba mangga lam，梵文，sarva maṅgalaṃ，一切吉祥）！ 堪欽阿貝仁波切（mkhan chen a pad rin po che）按照他的意願，由古汝（gu rus）提供服務。
【English Translation】 Then, taking the bell and hand drum, they returned with the great gong and small drum. Then, they played the three instruments together once and put them down. After that, the monks (dge slong, Buddhist monks), the yogis (sngags pa, practitioners of tantra), the great ones (skyes chen, people of high status) and the small ones (skyes chung pa, people of low status) finished returning with the small drums, and after striking the great gong three times, they played the instruments with a 'siliili' sound three times, turning left, right, and left again before putting down the instruments. Then comes the eight-beat drum of the Bear-faced Mother (dom gdong ma), and the iron hook of power, dancing with the outer, inner, and secret melodies. In the four guides of the syllable Hūṃ (ཧཱུྃ，hūṃ，seed syllable, subjugation) of the melody, each time extending and raising the right leg. In the first line of the song, facing the direction of origin, jump into the do ra (do ra, circular area). In the second line of the song, facing the direction of destination, jump out of the do ra. In the third line of the song, rotate from the right side. Again, facing the direction of destination, face outside the do ra and jump towards the origin. In the fourth line of the song, facing the direction of origin, face inward and make a gesture of jumping to the left. Then, pick up the nine-beat drum of 'Wai Ya' (ba'i ya'i), led by the lead dancer, the nine-beat drum of the Pu tra ba returning, this is the nine-beat drum of the Bear-faced Mother, the fierce great bell. In the outer, inner, and secret four guides of the syllable Hūṃ (ཧཱུྃ，hūṃ，seed syllable, subjugation) of this dance, raise the right leg, extend the body to the right and rotate. The right rotation of the first two lines of the song does not need to be too large, and the right rotation of the middle two lines of the song needs to be slightly larger. For the first word of all four lines of the song, place the right foot on the ground, and for all the second words, extend the left leg, raising them at the same time, and doing so is correct. ' This short note on the Pu tra dance was also personally and in detail taught to me alone by the kind root guru, the mantra holder Drakpa Lodrö Gyaltsen (sngags 'chang grags pa blo gros rgyal mtshan) the Auspicious Excellent (dpal bzang po), in the library on the fourth floor when I was seventeen years old. Because my memory was not good, later, for some doubtful points, I compared and corrected them with the dance model of the Mantra Holder Dharma King (sngags 'chang chos kyi rgyal po), and Jamyang Thutop Wangchuk ('jam dbyangs mthu stobs dbang phyug) and his disciples, to make it accurate. The Sakya (sa skya pa) mantra holder Ngawang Kunga Sonam (sngags 'chang ngag dbang kun dga' bsod nams) compiled this as his own memorandum, may this please the Dharma protectors! Sarva Mangalam (sarba mangga lam, Sanskrit, sarva maṅgalaṃ, All auspiciousness)! According to the wishes of Khenchen Apel Rinpoche (mkhan chen a pad rin po che), Guru (gu rus) provided the service.
