【English Translation】 Collected Teachings of Ngawang Kunga Sonam ANK60: Abridged Meaning of the Vajrakila Dance Pattern 'Manifestation Capable of Transforming' - A Letter of Universal Activity for Imminent Needs, Called 'Aspiring to All Purposes' Abridged Meaning of the Vajrakila Dance Pattern 'Manifestation Capable of Transforming' - A Letter of Universal Activity for Imminent Needs, Called 'Aspiring to All Purposes' The Dance Steps of the Root Dance Abridged Meaning of the Vajrakila Dance Pattern 'Manifestation Capable of Transforming' - A Letter of Universal Activity for Imminent Needs, Called 'Aspiring to All Purposes'. Homage to Guru Vajrakila! I beseech the supreme Lama and the assembly of activity Phurba (Vajrakila), I prostrate with reverence at the lotus feet of the Dharma protectors and oath-bound ocean. I, the sleepy and lazy yogi, prostrate with reverence. I pray to be led to Sukhavati (the Pure Land of Amitabha). Here, the hand gesture dance of the deities of the Bhagavan Vajrakumara (Vajrakila), called 'Rain of Accomplishments,' which is the abridged meaning of the dance pattern 'Manifestation Capable of Transforming,' is the universal activity. The dance steps that are imminently needed, the manner of assuming the hand gestures of the subtle hand movements, the manner of performing the subjugation dance in conjunction with the final Torma (sacrificial cake) offering, and some of the practices needed during the great Vajrakila Puja of the glorious Sakya school, are written here as they appear in the actual handwriting of the mantra-holder Chögyal Phagpa Ngagwang Kunga Rinchen and his heart-son, the root guru, mantra-holder Drakpa Lodro. First, the dance steps of the root dance will be spoken: In order to make the ground level, the dance is circled three times to establish it. In order to generate the Dharmadhatu, circle three times. In order to subdue Samsara-Nirvana, wave three times. In order to generate the Dakas and Heroes, do 'gsig gsig' three times. In order to summon the life force of those who have broken their vows, these two head-bowing postures, although the upper one is below in the dance pattern, are actually performed in reverse during practice. Do it three times. In order to invoke the Dharma protectors, do 'gchugs pa' three times. In order to bless the upper direction, draw an eight-spoked wheel in the sky. In order to bless the middle, draw the eight auspicious symbols on the side. In order to bless the lower direction, draw an eight-petaled lotus on the ground. Search the ground with a Vajra half-step. Tame the ground with a Vajra single step. Frog jumps with a Vajra crossed.
【English Translation】 Ground Consecration: From the syllable 'ཨེ་' (E) arises the pure expanse of space, like the center of the sky; from the syllable 'ཡྃ་' (YAM) arises the great wind mandala, solid and stable; upon that, from the syllable 'བྃ་' (BAM) arises the white water mandala; from the syllable 'རྃ་' (RAM) arises fire, burning half of it; from the syllable 'ལྃ་' (LAM) arises the stable earth mandala. Upon that, is an ocean of blood churning with waves. In the center, upon a mountain of stacked skeletons, is a measureless palace made of five precious jewels. The Great Glorious One's Majestic Appearance: The small majestic appearance of the Great Glorious One. The face is white on the right, red on the left, and blue in the middle. He holds a nine-pointed vajra, a five-pointed vajra, and a burning three-pointed flame. He holds two objects in each of his right and left hands. The ends are surrounded by vajra kīlas, and his body is large and coarse. With four feet, the right is bent and the left is extended, trampling upon the head and navel of the prostrate Maheśvara. He is adorned with five dry skulls on his head and a necklace of fifty wet skulls. He is adorned with white, red, green, and black snakes. His body is smeared with blood, oil, and great ashes, and painted with various patterns. He wears a large oxhide cloak and an undergarment of tiger skin. He has the wings of a vajra Garuda. The Great Consort (Vajravārāhī) is adorned with a wheel. One face and two arms, the right hand holds a wheel, the left hand holds a skull cup offered to the Yab. The attendants above and to the east hold a vajra and an iron hook; the attendants of fire and to the south hold a staff and a club; the attendants of the unreal west hold a sword and a lotus; the attendants of wind and to the north hold a vajra and a crossed vajra; the powerful attendants below hold a vajra and a mallet; the handmaidens above and to the east hold a bell and a fan; the handmaidens of fire and to the south hold a flame and a battle-axe; the handmaidens of the unreal west hold a lasso and a snake lasso; the handmaidens of wind and to the north hold a wheel and an arrow; the powerful handmaidens below hold a trident and a pestle. The white yaksha woman holds an iron hook; the yellow terrifying woman holds a lasso; the red nectar woman holds an iron chain; the green killing woman shakes a bell. General Dharmapāla's Admonishing Dance: Seven yogis who have departed from the east, please perform the pacifying activity! Seven yogis who have departed from the south, please perform the increasing activity! Seven yogis who have departed from the west, please perform the magnetizing activity! Seven yogis who have departed from the north, please perform the wrathful activity! Up to the dance of the handmaiden 'མ་བྃ་ལེན་' (ma bam len), these are all the dance lyrics.
【English Translation】 Now, I shall explain the mudras (hand gestures) of the subtle hand gestures. For the hand gestures of the upper and eastern directions: When facing inward, the right hand is raised high, holding the vajra (diamond scepter) in the manner of Vajradhara (the holder of the vajra). The left hand holds a fist with the index finger extended (tarjani mudra), like a threatening gesture, near the heart. When facing outward, the left hand remains the same, while the right hand is extended forward, fist facing upward, with the index finger curved like a hook. For the hand gestures of fire and the southern direction: When facing inward, the right hand is extended forward, holding a staff, while the left hand is extended over the left thigh. When facing outward, the right hand is raised high above the right shoulder, holding a staff, while the left hand remains the same. For the hand gestures of the western direction of true emptiness: When facing inward, the little finger and ring finger of the right hand are pressed down by the thumb. The middle and index fingers are extended like a sword, cutting from the left front corner to the right front corner, while the left hand is slightly raised near the heart. When facing outward, the right hand is slightly lowered above the right shoulder, holding a lotus flower, while the left hand remains the same. For the hand gestures of wind and the northern direction: They vary depending on whether facing inward or outward. The first gesture is: both hands crossed above the left shoulder, palms together. The second gesture is: the right hand is moved away from the left, with fingers extended, making a cross in front. For the hand gestures of the powerful lower direction: They vary depending on whether facing inward or outward. The first gesture is: both hands extended above the shoulders, with the right hand holding the vajra. The second gesture is: the right hand is moved away from the left, placed on the left shoulder, holding a hammer. That concludes the hand gestures. Now, I shall explain the mudras of the subtle consorts. For the mudras of the subtle consorts of the upper and eastern directions: They vary depending on whether facing inward or outward. The first gesture is: both hands placed above the shoulders, facing downward, almost touching, holding a bell. The second gesture is: the right hand is moved away from the left, waving a fan in front. For the mudras of the subtle consorts of fire and the southern direction: They vary depending on whether facing inward or outward. The first gesture is: the right fist slightly raised above the right shoulder, holding a hearth, while the left hand makes a threatening gesture near the heart. The second gesture is: the left hand remains the same, while the four fingers of the right hand are raised, making a gesture of striking an enemy in front. True emptiness…
【English Translation】 The subtle hand gestures (mudras) of the fire mandala (Tibetan: ུབ་ཀྱི་དཀྱིལ་འཁོར) are determined by whether the face is turned inward or outward. The first gesture is: both hands in front, with the backs of the hands crossed and extended, forming a net-like shape. The second gesture is: starting from the left hand, separate the right hand and make a snake-like winding gesture in front. The subtle hand gestures of the wind and north mandala (Tibetan: བྱང་གི་དཀྱིལ་འཁོར) are determined by whether the face is turned inward or outward. The first gesture is: the left hand at the chest, with the lotus (Sanskrit: padma, literal meaning: lotus) facing upwards. The right elbow is drawn inward. Extend a finger from the right fist, making a wheel-turning gesture. The second gesture is: from this position, retract the index finger of the right hand, bend the wrist inward, making a gesture of holding a staff. The subtle hand gestures below Īśvara (Sanskrit: Īśvara, literal meaning: the自在天) are determined by whether the face is turned inward or outward. The first gesture is: the right thumb presses down on the little finger, the other three fingers are bent into a hook shape, the right arm is raised high above the head, and the left hand is extended towards the left thigh. The second gesture is: starting from the left hand, the right hand slightly bends the elbow, almost without touching the secret place, with the palm facing outward, making a gesture of holding a wooden stick. These are the complete descriptions of the subtle hand gestures. Next, the method of forming the hand gestures of the four subsidiary gates is described: First, the hand gesture of the east gate is: the left hand lotus (Sanskrit: padma, literal meaning: lotus) at the height of the two breasts, with the palm facing upwards. The right elbow is drawn inward, the fist facing outward, and the index finger is bent into a hook shape. The hand gesture of the south gate is: both hands extended as if playing a musical instrument, making a gesture of holding a rope. The hand gesture of the west gate is: the right hand raised above the right arm, the left arm attached to the left arm, making a gesture of rope chains of different heights. The hand gesture of the north gate is: both hands attached to the shoulders, making a gesture of holding a bell. Here are some necessary additional explanations: From the generation of the Dharmadhatu (Tibetan: ཆོས་ཀྱི་དབྱིངས་བསྐྱེད་པ), to the control of phenomenal existence (Tibetan: སྣང་སྲིད་དབང་དུ་བསྡུ་བ་), and down to the blessings below (Tibetan: འོག་བྱིན་གྱིས་བརླབས་པའི་བར་), the manner of proceeding, the vajra cross (Tibetan: རྡོ་རྗེ་རྒྱ་གྲམ), the skull (Tibetan: ཀེང་རུས), made of the five precious substances (Tibetan: རིན་ཆེན་ལྔ་), the wings of the vajra garuda (Tibetan: རྡོ་རྗེའི་ཁྱུང་གཤོག), the great mother (Tibetan: ཡུམ་ཆེན), the hand gestures, the two below the subtle hand gestures, and the hand gesture of the north gate, all adopt the manner of proceeding in the generation stage. Others, according to the style of the dance, adopt a swaying dance step of a single beat or four beats. From the generation of the dakini warriors (Tibetan: མཁའ་འགྲོ་དཔའ་བསྐྱེད་པ་), to the majestic posture of Mahakala (Tibetan: དཔལ་ཆེན་པོའི་འགྱིང་ཆེན་ཡན་), a leaping step is adopted. From the majestic posture to the north gate, actions of unfolding and gathering are adopted. For the three substances to be smeared, they must be rotated around the stake (Tibetan: ཕུར), and the tip of the stake must be shown facing outward. The fire mandala is now complete.
【English Translation】 The triangle of the three realms Strike the great Kala instrument. From E emanates the mother sound, from Yam emanates the great wind, press down to the right with Dzam. From Vam emanates the water mandala, press down to the left. On the wet skull, at the root of the left ear Do Dzam three times, then circle from the front with six large instruments. Learn at the right ear and do Dzam three times. Return to the left again, performing release and collection. The tiger skin is for growth, at the right-hand perspective Do Dzam three times, then circle from the front with four large instruments in the manner of wrapping the tiger's apron, reaching the left and performing release and collection. For the examination of Bam, from right to left with three large instruments. For the examination, there are also three small ones on the left, the same. Alternating left and right, with four large instruments on the left. For the examination, there are three small ones. Now, in conjunction with the final liberation offering, demonstrate the manner of the subjugation dance of enemies and obstacles. Now, in conjunction with the final stage of the liberation offering, demonstrate the manner of the dance of subjugating enemies and obstacles. For this, first is the golden beverage of the drum dance as a preliminary, accompanied by the sweet melody of Guru. And the first melody cycle of performing the peaceful whirling dance three times, offering to the Lama, Vidyadhara, and Sangha. Offering to the Yidam peaceful and wrathful deities. The second cycle, especially offering to the deity assembly of Vajrakilaya. From the invisible space, with compassion. The third cycle, may outer and inner obstacles not arise, may the two siddhis increase. At the end of all the words, in the peaceful whirling dance, the dance leader gives the drum signal. Then, striking three small drums on the right. After that, in five slow small drumbeats, towards the direction of travel. At the sixth drumbeat, accompanied by a large drumbeat, return to all directions, and proceed towards all directions as before in five slow small drumbeats. At the sixth drumbeat, return to the direction of travel, striking two small drums and one large drum, looking towards Kadorar, this is the peaceful whirling dance. After that, changing the direction of the Vajrakilaya, accompanied by the arrogant melody of the great holder, and performing the precious galloping dance three times, accompanied by the striking of the drum, in the first melody cycle. This powerful Vajrakilaya of tonight, will not be shown to the gods in the sky. The gods descend to the summit of Gangkar. Now open the powerful Vajrakilaya path! The second cycle, the upper and lower words are the same, in the middle is the Tsen god. The third cycle, the upper and lower words are the same, below is the Naga god. At the end of all the words, in the precious galloping dance, the dance leader gives the drum signal. While striking upwards to the right, strike three small average drumbeats, connecting the fourth and fifth drumbeats and striking quickly, raising the drum to the sky and striking backwards.
【English Translation】 Transforming the drumbeats into one, two, three, and observing the direction of movement. The drumbeats of four, five are struck quickly as before. Again, transform the drumbeats of one, two, three, four, five into drum face up and down, and move backwards. In this way, perform the forward and backward movements three times. On the third backward movement, draw the vertex of the Dharmodaya (chos 'byung, Sanskrit: dharmodaya) pattern, pointing towards the direction of movement, with three strong drumbeats in between. Strike the drumbeats of four, five quickly, and look back. Then, observe the overall direction of the three small drumbeats, and sit down with the heel of the right foot against the knee of the left foot. Strike the drumbeats of four, five as before, and move backwards between the five small drumbeats, then move forward between the five drumbeats. Again, repeat the backward and forward movements twice, and then draw the vertex of the Dharmodaya pointing towards the overall direction between the five strong drumbeats. For the corner of this Dharmodaya, it is necessary to draw twice with the right foot. After drawing, complete the drawing of the Dharmodaya in this way, and then strike the drumbeats five times from small to large, rotating backwards from the overall direction, looking at the doorkeeper (do ra). This is the dance of the precious jewel. This forward and backward movement, the way of moving with the drumbeats transforming from outside to inside, is best called the Shangshung step (shang shang 'gros). Then, in order to generate pride, play the sound of blissful majesty (bde ba'i brjid dbyangs). When performing the Jewel Circling Dance (nor bu'i skor 'cham) three times, in the first verse: 'Hūṃ (藏文：ཧཱུྃ，梵文天城體：हुं，梵文羅馬擬音：hūṃ，漢語字面意思：seed syllable) I am the Vajra Youth! The life burning in my heart is also integrated into it!' In the second verse: 'The eight consciousnesses (tshogs brgyad), crown chakra, soles of the feet, etc., the nature of the Wrathful Deities (khro bo) and Wrathful Mothers (khro mo) abides!' In the third verse: 'All phenomena of appearance and existence, without exception, are the nature of the Wrathful King himself!' When the music ends, the dance master gives a drumbeat signal. Then comes the Jewel Circling Dance: Then, in the four small drumbeats, the first and second lean to the right, the third and fourth press the drum on the ground and lift it to the sky. The head turns to the direction of movement, looking back slightly. Then, the first and second sway there, the third and fourth slowly rotate from behind, the head looking inward. Hold the drum horizontally. In this way, perform the dance of four small drumbeats evenly seven times. On the third and fourth drumbeats of the seventh time, use five strong drumbeats. Again, four drumbeats, the first head looking back, etc., as before. Again, four drumbeats, the first head facing forward as before, the drum leaning to the right. The third and fourth drumbeats strike strongly. Again, four drumbeats, the first head looking back. Again, four drumbeats, the first head facing forward. Then four drumbeats.
【English Translation】 Strike the drum forcefully, displaying and writing the tip of the Dharma source (chos 'byung) outwards. Face completely forward, and on the first and second beats, bend the right leg, erect the left knee, and maintain an elegant posture. The third and fourth strikes are not counted in the number of four strikes both above and below. Then, tilt the drum to the right, performing six gentle and even four-beat strikes similar to before. When striking 'four-five,' strike the drum forcefully twice, and then, as before, strike the drum forcefully five times, displaying and writing the tip of the Dharma source outwards, facing towards the jewel within, which is the circumambulation dance of the jewel. Next, perform the oath-taking ceremony, accompanied by the Vajra's (rdo rje) shining sound and the Wish-fulfilling Jewel's (dpag bsam) gentle dance, three times in total. In the first round of melody: 'The three lineage gurus, vidyadharas (rig 'dzin), and the immeasurable assembly of peaceful and wrathful deities.' Second round: 'Especially the assembly of deities of Vajrakilaya (phur bu), please heed me.' Third round: 'With power and miraculous abilities, please protect us well.' At the end of each verse, the dance leader gives a drum signal, and then coordinates with the melody of the second verse. Perform the gentle dance of the Wish-fulfilling Jewel, and even those unfamiliar with the melody can fully express the meaning by counting in this way. The method is: on one's right side, jump between the first and second drum beats. On the third beat, circle from the front, facing the direction of travel. On the fourth and fifth beats, slightly lift the right foot. On the sixth beat, lift and lower the left foot. On the seventh beat, slightly lift and lower the left foot, facing inward. On the eighth beat, lower the drum on the right side and lower the right foot. Again, on the ninth beat, lift the right foot, circle from in front of the drum, facing the direction of travel. On the tenth and eleventh beats, slightly lift and lower the left foot. On the twelfth beat, lift the right foot, swaying the body greatly. On the thirteenth beat, again slightly lift and lower the right foot. On the fourteenth beat, slightly lift the left foot, and on the fifteenth beat, lift and lower the left foot, facing inward. On the sixteenth beat, tilt the drum to the right, lift and lower the right foot. On the seventeenth beat, again lift the right foot and lower it to the right side. On the eighteenth beat, lower the left foot. Then, at the end of the melody, strike the drum forcefully and lower the drum on the left side. Let the drum handle be below the right elbow, performing four gentle and even downward strikes. Again, during the four gentle strikes, raise the drum on the right side, point the drum handle to the left, and then strike upwards. Repeat this three times, then sway and lower the body between the four forceful downward strikes. Then comes the limping strike.
【English Translation】 The dancer lifts the left foot, slightly lifts the drumstick, rotates from the front to the right, and then gently lowers it to the ground. The right foot also rotates together like the left foot, and then looks back. Again, like before, strike the drum four times, with the first and second drumbeats being louder, and the third and fourth drumbeats being softer. The left drumstick strikes below, the right drumstick lifts above, the left drumstick strikes below, the small drumstick strikes, etc., repeating three times as before. On the fourth time, strike the bottom of the drum while dragging the right foot on the ground from behind, and the left foot rotates incidentally, facing inward. Then perform a four-beat drum, only striking the bottom of the drum, and the right foot stretches out, drawing three vertices with the toe, which is the dance of the wish-fulfilling tree. Then coordinate with the suona, large horns, and other instruments. The drumsticks are swayed left and right alternately five times. Then, in coordination with the limping drumbeat, adjust the steps according to the situation. Again, sway the drumsticks as before and draw half a vajra. 6-283 Again, sway the drumsticks and adjust the steps according to the situation, then sway the drumsticks and draw the steps of a single vajra. Again, sway the drumsticks and walk, etc., as before, and draw a crossed vajra. Then, after swaying the drumsticks, only use the steps of the limping drumbeat, the lead dancer of the dance connects with the other members of the dance team, and the speed of the limping drumbeat becomes faster and faster, leaving from a very coordinated side. The way these vajras are drawn is completely consistent with the tone of the root dance. Details such as striking the top and bottom of the drum are clearly visible in the dance examples, and those with wisdom can refer to them. These are brief instructions on the preliminary drum dance. Next is the actual dance of subduing demons, at this time, the vajra master, together with the disciples, performs the blessing of nectar (bdud rtsi byin rlabs), offers libation (gser skyems bsdus pa), invokes the vidyadharas (rig 'dzin bskul), rotates the phurba (phur kha bsgyur ba), invites the protectors (lha bsrung spyan drangs ba), generates pride (nga rgyal bskyed pa), the wrathful wheel (dipta cakra), the ritual of killing लिंग（梵文天城體，liṅga，梵文羅馬擬音，linga， लिंग的音譯）, etc., as well as the rituals of the three lineage lamas. Then, the vajra master, the drummer, the horn players, the gyaling players, the darpa players, and other instrument players together, at the entrance of the dance hall, the drummer stands on one side, and the other instrument players are arranged face to face. 6-284 In censers and other containers, burn juniper, large pieces of meat, and fat, emitting thick smoke that is very dense. Then, play the horns and other instruments, making majestic sounds, strike the wooden boards three times, and upon completion, emit the sound of Hūṃ（藏文：ཧཱུྃ，梵文天城體：हुं，梵文羅馬擬音：hūṃ，漢語字面意思：種子字）.
【English Translation】 And other (rituals). According to the works of Sakya masters, proceed in order: First, with the first part of 'Zam' (Tibetan: ཛཾ, Sanskrit Devanagari: जं, Sanskrit Romanization: jaṃ, Chinese literal meaning: seed syllable), invoke with the five strikes of Phurba (Kila): 'Hum! Majestic and terrifying, with a fierce countenance, bared fangs, red and yellow hair standing on end, adorned with a garland of skulls. Manifesting a terrifying form, emanating twenty emanations. To subdue those who break their vows, please descend here!' Then, invoke the Lord and Lady of the Cemetery (Lord of the charnel ground): After the verse 'Cemetery flesh-eaters' etc., invoke all the retinue: 'To grant accomplishments, please descend!' The manner of dancing follows the dance example, using eight strikes three and nine strikes nine. Then, with the second part of 'Zam', invoke using the method of entering through the middle of the ladder: 'Hum! Messenger woman emanated from the heart of the Great Glorious One (deity), fierce Yaksha woman, slayer of nectar. To destroy enemies and obstacles, I invite you to descend, with compassion as swift as lightning, descend here!' Then, with the third part of 'Zam', invoke with the nine strikes of Phurba: 'Hum! Terrifying red-black, in the center of fire and wind. Extremely wrathful, severing those who break their vows, protecting practitioners, the twelve oath-bound protectors. To subdue the untamed, please descend here!' Then, invoke the head: 'Hum! Emitting the sound of practice' etc., up to between the heads of the bear and the mouse, and at its end: 'Fierce Yaksha woman, slayer of nectar' etc. 'To subdue those who break their vows, please descend here!' Combine in this way. Then, the dancers, Vajra Acharya, all the teachers and students come, circling the arena with single steps, performing the ritual of hooking and withdrawing the lingam (symbol of union) three times, then making one lotus rotation. After five times of 'Zam', circle once more with single steps. Then, entering the main practice, the Lion's Majestic Dance: After the lotus rotation and five times of 'Zam', with one loud instrument sound, lift the right leg, extend both hands and sit down. Then, rotate to the right, rotating between five instrument sounds. Finally, perform the lotus rotation as before, and one rotation of 'Zam' steps. Repeat this three times, the first time with single steps, then with double steps, alternating swaying to the left, right, and center. The Tigress's Fierce Dance: The lotus rotation, 'Zam' etc. are the same. Then rotate to the right between five strikes eleven. Lotus rotation, double steps. Repeat this three times. The She-Wolf's Galloping Dance: One lotus rotation in the center. Then, place the right foot behind the left foot, make one lotus rotation, with the left hand on the waist. Waving the right hand, move the right foot forward, moving during four slow instrument sounds. Then four strikes.
【English Translation】 For both fast and slow paces, leap forward, and with one lame leg, turn to the left. Leap backward and do one lotus spin, right hand on the waist, etc., alternating left and right. With the one lame leg facing forward, spread both legs. Extend both hands and leap backward, doing one lotus spin and two steps of 'ཛྃ' (dzaṃ, ཛྃ, जं, Jaṃ, seed syllable of fire) etc. Do this three times. In the bear's running dance, do one lotus spin in the center. Move the right foot behind the left foot and do one lotus spin. Then move the left foot behind the right foot and do one lotus spin. Again, as before, move the right foot behind and do one lotus spin, making four lotus spins in total. Accompanied by two small, slow drumbeats, do two 'ཛྃ' in the left and right corners respectively. Then, with two large drumbeats, lean the body greatly to the left, and do two 'ཛྃ' on the left side. Then lift the right foot and move it forward, leaning the body to the right and doing two 'ཛྃ'. Again, move the left foot forward and do two 'ཛྃ' as before, and after doing one lotus spin, do the dog sleeping posture with three sets of four beats. Then do one lotus spin, and for eleven drumbeats, put the left hand on the waist, and sway the right hand. Move the right foot slightly towards the seven o'clock direction. After the drumbeats end, extend the right foot straight forward, and do a forward leap in two sets of four beats. With one slow drumbeat, look to the left, leap backward, and do one lotus spin. Right hand on the waist and swaying the left hand. Move the left foot slightly forward, completing the movement in eleven drumbeats, and then leap forward in two sets of four beats. Leap backward with one lame leg. Leap forward with one lame leg. Again, leap backward as before, do one lotus spin, and the 'ཛྃ' and steps are the same as before. After repeating this three times, do a single step dance at the end. Then, for the Linga dance, after doing one complete stretch and contraction, in three sets of five beats, alternately wave both hands and sway left and right to finish. Extend both hands alternately forward in four sets of five beats, making the 'ཛྃ' posture. Then extend both hands and rotate to the right, rotating in one set of nine beats, pressing down to the left on the seventh beat. Wave to the right on the ninth beat. With two slow drumbeats, do the 'ཛྃ' stretching movement to the left and right. Then, do the four-step dance in three to four sets of four beats, which is also done after the Chem drumbeats in the actual foundation laying ceremonies. Then, it is performed in accordance with the melody of the Great Samaya.
【English Translation】 When the time to subdue has come!' Saying this, jump to the right, rotate at a pace of four beats per circle, left hand on the waist, right hand waving, and during the process of nine beats per circle, the right foot moves slightly. After the music ends, the right foot moves forward, the body twists from the right side, and during the process of three beats and four circles, the right hand rotates three times under the right knee in a knife-rotating manner. Jump to the left again, rotate at a pace of four beats per circle, rotate forward, etc. Although it is just alternating left and right, the hands stretch back, jump, rotate at a pace of four beats per circle, and then perform three leg pulls, pulling to the right, left, and right respectively, while pulling jaṃ (Tibetan:, Sanskrit Devanagari:, Sanskrit Romanization: jam, Chinese literal meaning: Let). Step in between three to four beats. Then, 'For those obstructors!' After that, perform the steps as before again. 'Experience suffering!' Saying this, jump to the right, rotate at a pace of four beats per circle, and then perform four leg pulls, alternating to the left and right twice each. Finally, perform drum beating and linga (Tibetan:, Sanskrit Devanagari:, Sanskrit Romanization: liṅga, Chinese literal meaning: symbol) subduing, etc. After that, all the steps of the dance are the same as before. At the end of the sixth step's dance, after the swaying of five beats and three circles is completed, dance in accordance with the inner and outer secret melodies. In the first sentence, lift the right foot and move to the left, then jump to the right. In the second sentence, lift the left foot and move to the right, then jump to the left. The third and fourth sentences alternate as before. After completion, jump to the left and right two or three times each, and finally offer the drums, masks, and corpses. Then return inward in four steps. These briefly demonstrate the dance style of subduing enemies and obstacles. ༄། །Some practices needed during the great Vajrakila sadhana puja of the glorious Sakya school. Now, let us talk about some of the necessary practices during the Vajrakila sadhana puja held at the great seat of the glorious Sakya. First, the ritual text needs to be prepared. Starting from the ground ritual, perform the preliminary torma (offering) and the actual ground purification, from 'From my right eye' to 'I will draw a meaningful mandala'. Other parts do not need to be prepared. In the preparation stage, starting from the preparation of the deities, to the purification of the prepared deities' mandala before, to the invocation of the wisdom beings. Other parts do not need to be prepared. Starting from the main practice, perform self-entry.
【English Translation】 Afterwards, perform the auspicious ceremony. No need to arrange the others. Then, make the appropriate gathering sound. Starting from above, what needs to be arranged is the chant of the Great Hūṃ (Tibetan: ཧཱུྃ་ཆེན་ཀ་རའི་དབྱངས།), and the gathering of the infinite Brahma interweaving from above. Then, perform one round of the Kīla (peg, a Buddhist tantric implement symbolizing the cutting off of all afflictions) dance steps. Do not do the other stomping and jumping upwards movements. Then, make the appropriate gathering sound. When practicing the preliminary practice of the Kīla dance for subduing the ground, start with relaxed dance steps. When the head is bent upwards, make a lotus circle each time. The two of subjugating appearance and existence (Tibetan: སྣང་སྲིད་དབང་དུ་བསྡུ་བ།) and generating the brave Ḍākinīs (Tibetan: མཁའ་འགྲོ་དཔའ་བསྐྱེད་པ།). For the Vajra solo dance in the three directions of above, below, and middle, make five lotus circles each time. Vajra half-step and cross step. For fire, earth, blood (Tibetan: རཀྟ།, Sanskrit: rakta, Romanized Sanskrit: rakta, Literal meaning: blood), and bones (Tibetan: ཀེང་རུས།), make two lotus circles each time. Composed of the five precious substances, and from the common inspiring dance of the oath-bound protectors (Damchen), until the black snake twisting steps, etc., when dancing, face upwards. Lotus Circling is for resting, etc., make appropriate postures. For all other movements, make one lotus circle each time. Vajra half-step and solo dance each for two rounds. Make one round of the cross step. Starting from purifying the space from 'ཨེ་' (Tibetan, Devanagari: ऐ, Romanized Sanskrit: ai, Literal meaning: Ah), until blood (Tibetan: རཀྟ།, Sanskrit: rakta, Romanized Sanskrit: rakta, Literal meaning: blood), make two rounds of each movement. Do more blood (Tibetan: རཀྟ།, Sanskrit: rakta, Romanized Sanskrit: rakta, Literal meaning: blood) and bones (Tibetan: ཀེང་རུས།). In the subsequent dance practice, except for the movements that require five lotus circles and the lotus circling for resting, make one lotus circle for all movements. Do more blood (Tibetan: རཀྟ།, Sanskrit: rakta, Romanized Sanskrit: rakta, Literal meaning: blood) and bones (Tibetan: ཀེང་རུས།). Perform each of the other various dances once. The first tea break is taken at the end of the bones (Tibetan: ཀེང་རུས།). The second tea break is taken when the yogis from the north leave. On the day of the actual dance for subduing the ground, bless the nectar at the appropriate time. Offer abundant golden drink (Tibetan: གསེར་སྐྱེམས།), inspire the Vidyādharas, and perform the turning of the Kīla (Phurba), etc. On the day of the actual dance, when the head is bent upwards, make three lotus circles each time. Vajra half-step and solo dance each for three rounds. Make two rounds of the cross step. Other The number of movements, the number of lotus circles, etc., should be done according to the previous dance practice. Three dance tea breaks, the first one is taken at the end of the previous head bending. The second one is taken at the end of the bones (Tibetan: ཀེང་རུས།). After this, offer chang (barley beer) and yogurt. The first tea break in the middle is taken when the Great Mother (Tibetan: ཡུམ་ཆེན།) leaves. The second one of this is not done. After this, offer chang and yogurt again. The first tea break after this is taken when the yogis from the north leave. Immediately after the black snake twisting steps are finished, take the second circling tea break, and offer chang, etc., as before, and collect all the white tormas. In the preliminary practice of the destroying enemy demons dance at the end of the accomplishment feast, when drumming, make the first and second circles twice each, and make the dance circles twice each. Vajra half-step and solo dance each twice, and make the cross step once. Accomplishment dance
【English Translation】 After completing the single-step dance, perform one instance of hooking and releasing. Afterward, perform lame-foot spins and single-step dances as appropriate. From the Lion's Majestic Dance to the Bear Dance, perform each twice. After that, without performing hooking and releasing, complete the striking and perform one instance of the offering dance. Then, perform two offering methods, and six offerings, connecting the beginning and end of the words to complete all. Complete one verse (Sanskrit: śloka) of inner and outer secrets. After practicing the dance, perform one melody cycle of the Mala Drum Dance, and one dance cycle each. Perform three vajras each. In the accomplishment dance, perform hooking and releasing as before. Starting from the Lion's Majestic Dance, perform each once. Perform two offering methods, and the offering of the Wrathful Great Vajra Secret, Strike the Vajra Flaming Stake. (Tibetan: རྡུངས་ཤིག་རྡོ་རྗེ་འབར་བའི་གཏུན།, Sanskrit Devanagari: dhuṃ śik vajra bhāre vā gattuna, Sanskrit Romanization: dhung shik vajra bhare va gattuna, Chinese literal meaning: Strike, the Vajra Flaming Stake) etc., connecting the beginning and end of the words to complete the three offerings. Complete the two word beginnings and ends of the inner and outer secrets. First tea break, rest after the Lion's Majestic Dance is finished. Second tea break, rest after the two offering methods are finished. On the day of the actual dance, the Mala Drum Dance performs three melody cycles, and three dance cycles each. Perform three vajra half-steps and single-steps each. Perform two cross steps. In the accomplishment dance, after completing the single-step dance, perform three instances of hooking and releasing. Again, perform the single-step dance, and from the Lion's Majestic Dance to the Bear Dance, perform each three times. After that, perform one instance of hooking and releasing. Then, complete the two offering methods, and the six offerings, inner and outer secrets, etc. In the first of the three dance tea breaks, request the Lama Rigdzin melody cycle three times and then rest. Second, request the Three Lineage melody cycle once or twice and then rest. After this, request the Crane Dance and the churning of yogurt, etc. For the first middle tea break, request the Lion's Majestic Dance two or three times and then rest. Second, request the Wolf Dance to finish, or the Bear Dance once or twice to finish. For the first of the last tea breaks, request the two offering methods to finish. Second, request the three offerings of Messenger Servant etc. to finish. After the second of the two, request the Crane Dance etc. as before, and then collect all the white masks. After the three hooking and releasing at the beginning of the six dances are finished, the lame-foot dance is finished. Then, perform one single-step rotation, and like the fixed dance from the Lion's Majestic Dance to the Wolf Dance. The Wolf Dance turns right once. Right sway four times, forward jump run four times, strike twice, etc., like the dance example. Left stretch. In the Bear Dance, turn left and right three times each. After the dog falls asleep, raise the right hand and straighten it to hold, rotating from the right, to nine.
【English Translation】 Descended. The method of placement is to rotate once to the left, raise the right hand and hold it straight, and then lower it seven times, etc., all others are like the Cham dance diagram. As seen in the Vajrakila Cham dance diagram. This work, entitled 'Benefiting All Wishes,' is a brief summary of the Vajrakila Cham dance diagram of Nangwa Gyurthub (Tibetan: སྣང་བ་འགྱུར་ཐུབ།, meaning: Appearance Transformation), which is essential for the dissemination of all activities. It was made by: The one named Accomplished Lord Jampal Wangpo (Tibetan: འཇམ་དཔལ་དབང་པོ།), and the emanation of the omniscient Dharma Lord Sonam Gyaltsen (Tibetan: བསོད་ནམས་རྒྱལ་མཚན།), the infallible mantra holder Drakpa Lodro (Tibetan: གྲགས་པ་བློ་གྲོས།). The universal lord of all lineages, the sixth Vajrasattva, Gyalwa Muspa Chenpo Sangye Gyaltsen (Tibetan: རྒྱལ་བ་མུས་པ་ཆེན་པོ་སངས་རྒྱས་རྒྱལ་མཚན།), and the emanation venerable Kunga (Tibetan: ཀུན་དགའ།), the mantra holder of the Khon lineage, Ngawang Kunga Sonam (Tibetan: ངག་དབང་ཀུན་དགའ་བསོད་ནམས།), who placed their precious lotus feet as the royal ornament on the crown of his head, arose from a sincere desire and faith in the unadulterated Vajrakila Dharma of the Sakya school. Because the Cham dance diagram Nangwa Gyurthub (Tibetan: སྣང་བ་འགྱུར་ཐུབ།) composed by the mantra holder Dharma King is very old, so old that the Cham dance teachers of today cannot see it with their own eyes, and some of the names and meanings of the Cham dance movements have deviated from the Cham dance diagram Nangwa Gyurthub (Tibetan: སྣང་བ་འགྱུར་ཐུབ།) due to following the errors of the oral traditions of the elders, many uncertain situations have arisen. In order to avoid these situations, and for the benefit of those intelligent people who are interested in this Dharma, I initiated this project. In the Wood Rat year (Tibetan calendar), on the first day of the waxing half of the month of Drozun (Tibetan: གྲོ་ཞུན།, i.e., the eleventh month of the Tibetan calendar), it was completed at the Sakya Great Monastery Lhachen Rigzin Phodrang (Tibetan: ལྷ་ཆེན་རིག་འཛིན་ཕོ་བྲང་།), written by the scribe named Mangala (Tibetan: མངྒ་ལ།). May this merit, The root gurus and lineage gurus, the peaceful and wrathful deities, especially the Vajrakila assembly, as well as Karadud (Tibetan: དཀར་བདུད།), Lhamdral (Tibetan: ལྕམ་དྲལ།), and the twelve oath-bound protectors, may they all show extremely joyful smiles! May the mantra holder, myself, and my disciples and retinue, as well as those who harbor malicious intentions and speak harshly, wherever they may be, be swiftly punished by the Dharma protectors of the venerable Sakya school! May the political and religious affairs of the great monastery, the glorious Sakya school, increase and expand like the waxing moon, and may all the wishes of myself and my disciples in this life and the next be fulfilled as desired! Sarva Mangalam! According to the wishes of Khenchen Aped Rinpoche, served by Guru.
