Dancers reach toward the floor, stretching tight muscles against the weight of their bodies. Legs lift onto ballet barres, arms and feet move in perfect unison, southern styles meet artistic technique as choreography unfolds to music.

While a dancer’s life is filled thus, certain occasions offer a step outside typical time and pose. One such event occurred at Eastern Shore Dance Academy on Jan. 16 with the Dance Theatre of Harlem Ensemble Director Keith Saunders.

About 30 students attended the Dance Theatre of Harlem Master Class held that Monday evening and experienced a vigorous session.

Saunders, who began his ballet training in 1973 at the National Center for Afro-American Artists in Dorchester, Mass., and who joined Dance Theatre of Harlem in 1975. Currently the Director of the Dance Theatre of Harlem Ensemble, Mr. Saunders was invited as a guest instructor at ESDA to bring a varied repertoire to the students, according to Juli Lee, studio owner.

“I believe that it is important to expose our students to as many dance opportunities as possible,” she said. “Being far away from large metropolitan areas, we do not have the opportunity to see professional dance companies perform that often, let alone have the opportunity to learn from them.”

“When they do come into town, it is important to seize the opportunity when it comes. Once I found out about Dance Theatre of Harlem, I knew I wanted to arrange a master class for the kids. They were very willing to come into our studio to teach. Students came from all over, and teachers had the chance to observe the class; it was a great experience for everyone." Ballet Instructor Lindsay Bonfanti agreed.

“I actually ended up observing the class, and, as a teacher, I am always looking for ways to improve myself and for new ways of getting points across to my students,” she explained. “Having the opportunity to observe another teacher, one as well respected as Keith Saunders, is invaluable experience for me.”

“He had a lot of great things to say, and backed up his corrections with combinations to emphasize his points.”

Michael Wardlaw, ballet teacher at LaBelle Performing Arts in Pensacola, Fla., observed also.

He explained that, “When teaching students over an extended period of time it’s best sometimes to step back and watch. Instead of the potter molding the clay you become the spectator. Improvements students have made become clearer because you are not ‘in it’ looking to correct the mistakes. Unfortunately that necessary attention to detail can sometimes translate negatively in ballet class. It’s easy for a student to feel they are always being ‘fixed’ and therefore the teacher must feel they are ‘broken.’ It becomes personal instead of productive. When a student hears a different teacher give the same correction, they become more receptive and realize it is not personal. It’s good to have this fresh and positive perspective of your work, both teacher and student. Taking on the role of spectator breathes fresh life back into the relationship and allows the teacher to better identify progress.”

Bonfanti said she believes her students learned a great deal from the experience.

“The girls were really enthused with Mr. Saunders’ class and the lessons he brought to the table,” she said. “They put forth their 100 percent effort, and pushed themselves to new heights.”

“I was very pleased with all of the girls. There were a few areas that he focused on, which I have also used as focal points in my classes. However, hearing a new teacher offer a different perspective on these focal points was extremely beneficial. Sometimes all it takes is a different analogy, or word, for it to make sense to a student. I call them ‘light bulb’ moments for the students.”

Wardlaw, also brought his students to the class.

“Exposing students to different teachers has immeasurable value in their training,” he offered. “Often times corrections will be articulated differently, technical styles might vary and connections might be made in a master class setting.”

“These connections might later be used if the dancer decides to audition for companies or summer programs. While I believe whole hardily that consistency in a young person’s training is the key to rapid success, every teacher has something to offer. Teachers teach because they have a passion to share knowledge. Every student learns and processes material differently and so once a student reaches a certain level, being exposed to others teaching methods will help them grow and develop their own styles more quickly. This is extremely important to the expression of the art form.”

The students could tell that their time was well spent.

Analise Williams, 17, of Bay Minette, attends Emmanuel Academy and is a student at Eastern Shore Dance Academy.

“I went to the master class because I feel that it is an honor to be given the opportunity to take master classes,” she spoke with enthusiasm. “ You learn so much, so I was very excited to be able to attend the master class.”

“Mr. Saunders really helped me to get a new perspective about my dancing and also my weaknesses. He gave me things to think about which makes me want to work even harder at my dancing. I did enjoy class and it is always nice to be able to dance with other dancers from different schools. You never know what you might learn just by watching another dancer. It is so important to take master classes when you get the chance because you learn so much. There are so many different styles of dance and all teachers are different, it is a great learning experience.”

Whitney Nabors, 17, of Stapleton, is a student at Eastern Shore Dance Academy; she agreed with Williams about her experience.

“I can’t imagine a dancer who wouldn’t want to take a class from the director of a company as world-renowned as the Dance Theatre of Harlem, especially one offered in their hometown,” she exclaimed. “Variety is quintessential for any dancer--every company along with every individual director and choreographer has its own style.”

“I think that learning new techniques and style makes a dancer more flexible, more professionally desirable and more well-rounded. Like all other master classes, this class is a chance to see ballet from a different teacher’s perspective: the teacher will present new combinations, new corrections and great experience. I expected a fantastic class, but I didn’t expect the class to be so much fun, as well. I am so glad that I attended and I appreciate so much that Mr. Saunders and one of the company members came to our studio.”