In this paper, I examine the re-contextualisation of particular versions of solo traditional set dances from the region of North Kerry, Ireland, by teachers and step dancers of competitive step dancing for competition. These set dances, namely the Blackbird and Saint Patrick's Day, were choreographed by Jeremiah Molyneaux, the last of the itinerant dancing masters of the rural region of North Kerry (circa 1881-1965). The objective of the paper is to enquire into the reasoning behind the relatively recent appropriation of these dances and how competitive step-dance teachers and dancers learned to embody them as representative of a regional step-dance style. The paper proposes a particular model of transmission: a multi-sensory method of transmission where proprioceptive training and somatic sensation are considered in the stylistic embodiment and assessment of these solo set dances, and a theoretical engagement with relevant literature in the fields of Irish dance studies and ethnochoreology to contextualise and historicise the practice for deeper cultural understanding. This model might also be applied to the transmission of other dance practices.