![\"\"](\"https:\/\/s1.nyt.com\/timesmachine\/pages\/1\/1974\/08\/25\/93282059_360W.png?quality=75&auto=webp&disable=upscale\")
<\/p>\n
At age 15, Ronda Sampson attended a master class led by Arthur Mitchell of Dance Theatre of Harlem. Mitchell offered Sampson a scholarship to his school, an addition to the scholarship offer she already had from Joffrey Ballet. She then became one of the founding members of Dance Theatre of Harlem, performing with the company in their <\/span>first performance at Jacob\u2019s Pillow<\/a>. Sampson was featured in PBS\u2019 <\/span>Great Performances: Dance in America: Dance Theatre of Harlem<\/span><\/i>, a program that included <\/span>Forces of Rhythm<\/span><\/i>, <\/span>Bugako<\/span><\/i>, <\/span>The Beloved<\/span><\/i>, and <\/span>Dougla<\/span><\/i>.<\/span><\/p>\n Her repertoire with the company included Arthur Mitchell\u2019s <\/span>Rhymetron<\/span><\/i>, the pas de trois in <\/span>Holberg Suite<\/span><\/i>, and <\/span>Tones<\/span><\/i>; <\/span>William Scott\u2019s<\/span> Every Now and Then<\/span><\/i>; and <\/span>Geoffrey Holder\u2019s <\/span>Dougla<\/span><\/i>, among others. Sampson married fellow DTH company member <\/span>Homer Bryant<\/a> in 1978. She passed away in 2008.<\/span><\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n Sources:\u00a0<\/b><\/p>\n Arthur Mitchell\u2019s Dance Theatre of Harlem, Jacob\u2019s Pillow<\/a> Ronda Sampson Dance Theatre of Harlem \u00a0 At age 15, Ronda Sampson attended a master class led by Arthur Mitchell of Dance […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[73],"tags":[],"class_list":["post-5221","post","type-post","status-publish","format-standard","hentry","category-dancers"],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/mobballet.org\/index.php\/wp-json\/wp\/v2\/posts\/5221","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mobballet.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mobballet.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mobballet.org\/index.php\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/mobballet.org\/index.php\/wp-json\/wp\/v2\/comments?post=5221"}],"version-history":[{"count":9,"href":"https:\/\/mobballet.org\/index.php\/wp-json\/wp\/v2\/posts\/5221\/revisions"}],"predecessor-version":[{"id":15887,"href":"https:\/\/mobballet.org\/index.php\/wp-json\/wp\/v2\/posts\/5221\/revisions\/15887"}],"wp:attachment":[{"href":"https:\/\/mobballet.org\/index.php\/wp-json\/wp\/v2\/media?parent=5221"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mobballet.org\/index.php\/wp-json\/wp\/v2\/categories?post=5221"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mobballet.org\/index.php\/wp-json\/wp\/v2\/tags?post=5221"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/archives.jacobspillow.org\/media\/jacobspillow\/images\/4\/34287_ca_object_representations_media_423_large.jpg\")
\nRhythmetron Photo, Jacob\u2019s Pillow<\/a>
\nDancing her way up, The New York Times<\/a>
\nDance instructor Bryant changing students’ lives, Chicago Tribune<\/a>
\nGreat Performances Summary, The Paley Center for Media<\/a>
\nThe Dance Theatre of Harlem Cultureel Centrum Curacao program<\/a>
\nJackson, La’Toya Princess. \u201cBlack Swans Shattering the Glass Ceiling: A Historical Perspective The Evolution of Historically Black Ballet Companies\u2014 From Katherine Dunham to Arthur Mitchell.\u201d<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"