Developed in 1970, Umfundalai grew out of Welsh’s quest for a functional and aesthetic dance method that would mirror her personal experiences and the collective ethos and history of her African and African American heritage.

Through Umfundalai, students learn a language of body movement that challenges them to dance from the inside out. Unlike other modern forms where specific body types are preferred, Welsh’s technique draws from the power of the body regardless of age, size or race.

Former student Stafford Berry, Jr., associate artistic director of the African American Dance Ensemble in North Carolina, began studying with Welsh as a Temple undergraduate.

During a recent performance of “Kariamu and Company: Traditions”, Berry recounts how he transitioned from a computer science major to an arts student, and how Welsh and her technique helped to shape his career as a dance professional.

Affectionately called “Mama Kariamu” by students and members of her dance company, Welsh admits that learning to become totally immersed in the process of dance can be difficult. However, she says she often finds that the most rewarding part of teaching dance is watching her students’ talent emerge.

“It’s about spirit and dancing from your heart,” she said. “It’s amazing to me: I’ll meet a student who thinks that they are not a dancer — and then they will do something so beautiful, so elegant that it harkens back to the ancient — and in that moment, I am inspired to add it to my technique.”

Walsh and a panel of guest speakers will hold a discussion on the history, contribution and trajectory of the Umfundalai Dance Technique on Thursday, Nov. 12 at 1:30 p.m. in Rock Hall.