ABSTRACT 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.

中文翻译：

---

步骤、风格和感受差异：莫利诺传统舞蹈在爱尔兰传统舞蹈竞技舞台上的传播和重新语境化

摘要 在这篇论文中，我研究了爱尔兰北克里地区的特定版本的独舞传统舞蹈的重新语境化，这些舞蹈是由教师和舞步舞者为比赛进行的。这些固定舞蹈，即黑鸟节和圣帕特里克节，由北凯里农村地区最后一位巡回舞蹈大师杰里迈亚·莫利诺 (Jeremiah Molyneaux) 编舞（约 1881-1965 年）。该论文的目的是探究这些舞蹈相对较新的被盗用背后的原因，以及有竞争力的步舞教师和舞者如何学会将它们体现为地区性步舞风格的代表。论文提出了一个特定的传输模型：一种多感官的传播方法，在这些独舞的风格体现和评估中考虑了本体感觉训练和躯体感觉，以及对爱尔兰舞蹈研究和民族舞蹈学领域相关文献的理论参与，以将实践背景化和历史化更深的文化理解。这种模式也可以应用于其他舞蹈练习的传播。