Preya Patel

Preya Patel is an accomplished Kathak dancer, educator, choreographer, and cultural ambassador based in New York City. As the Executive and Artistic Director of Vivarta Arts, she has dedicated her career to preserving, promoting, and advancing the rich traditions of North Indian classical dance while making it accessible to diverse audiences across the United States. Trained under the guidance of Guru Smt. Jamuna Mitcham, Preya continues her artistic journey under the mentorship of the internationally acclaimed Kathak Guru Smt. Vaishali Trivedi, a distinguished disciple of the legendary Padma Vibhushan Smt. Kumudini Lakhia. Deeply rooted in the Guru-Shishya tradition, she combines rigorous classical training with a contemporary vision that resonates with audiences worldwide. Over the years, Preya has performed extensively in the United States, Canada, and India, gracing prestigious stages such as the United Nations, MTV3, the Queensboro Dance Festival, Celebrity Centre New York, Rockland County Music Conservatory, The Outlet Project, the New York Philharmonic, and the New York Times Travel Show. Her performances reflect both technical excellence and a profound understanding of Kathak’s storytelling, rhythm, and expressive depth.

As an arts leader, Preya has successfully established and sustained Vivarta Arts in one of the world's most competitive cultural environments. Her journey has involved overcoming challenges ranging from limited institutional recognition for Indian classical arts to securing resources, building audiences, and creating a permanent home for dance education in New York. Through perseverance and an unwavering commitment to artistic integrity, she has created a thriving space where students can receive high-quality classical training. Beyond performance and teaching, Preya actively contributes to the broader cultural community. She serves as a curator for the Indo-American Arts Council’s Erasing Borders Festival, participates as a panelist for Flushing Town Hall Arts Grants, and supports numerous charitable and community initiatives. Through her Global Steps program, she brings cultural awareness and artistic education to public schools across New York City and Long Island, fostering greater appreciation for Indian heritage among younger generations.

Preya Patel

How challenging was it for you to establish Indian classical dancing as a course or training in the New York?

Establishing Indian classical dance training in New York has been both rewarding and extremely challenging. When I founded Vivarta Arts, I quickly realized that preserving and teaching a traditional art form in a city as competitive and expensive as New York would require far more than artistic training alone.

One of the biggest challenges is that Indian classical dance is not widely recognized within the American educational system in the same way as many Western arts disciplines. Because it is not accredited through traditional educational pathways, securing funding, institutional support, and long-term resources can be difficult. Organizations often have to work harder to demonstrate the educational and cultural value of what we do.

Another challenge has been navigating a landscape where standards of training and qualifications can vary greatly. Over the decades, many individuals have entered the teaching space with varying levels of formal training. For parents and students who are unfamiliar with the nuances of Indian classical dance, it can sometimes be difficult to distinguish between rigorous classical training and more superficial offerings. This creates challenges for those of us who have devoted decades to intensive study and professional development within the tradition.

In recent years, particularly after the pandemic, there has also been a significant rise in short-term Bollywood workshops and recreational dance programs. While these programs certainly have a place and help generate interest in Indian dance, many are offered by individuals whose primary careers are outside the arts. Because teaching is not their primary livelihood, they are often able to charge lower fees. For full-time artists and educators who rely on dance as their profession, this can create considerable financial pressure and make it more difficult to sustain high-quality, long-term training programs.

Finding suitable space in New York has been another major obstacle. Studio rentals are expensive, availability is limited, and many Indian dance schools operate out of borrowed spaces, community centers, churches, or shared studios. After years of navigating these challenges, I made the decision to lease and operate my own dedicated space—something very few Indian classical dance schools undertake. While this has allowed me to create a stable home for my students and programs, it has also come with significant financial responsibility.

Building a student base has required patience, persistence, and resilience. Like many small arts organizations, we have faced competition for visibility and audience attention. There have been times when our marketing efforts were undermined, whether through lost promotional materials or other discouraging experiences. However, these moments only reinforced my commitment to continue growing the organization with integrity and professionalism.

Personally, the journey was also one of balancing two careers. In the early years, I worked a full-time job during the day and taught dance in the evenings and on weekends. What began as a few classes each week gradually grew into what felt like a second full-time career. Ironically, being laid off during the COVID-19 pandemic became a turning point in my life. It gave me the opportunity—and the push—to fully commit to my passion and transform Vivarta Arts into my full-time profession.

Preya Patel

Undergoing a busy life in the country like the USA with global symposium, what motivates you to keep going with your inherited tradition?

Honestly, I have never found it difficult to stay motivated because Kathak is not simply something I do—it is a part of who I am. One of my greatest sources of motivation has always been my Gurus and other senior dancers. I have been inspired not only by their extraordinary talent, but also by their methods of teaching, their patience, their discipline, and their deep, unmistakable love for the art form with such great humility.
 I also feel a profound duty to pass down our rich cultural traditions to the next generation. So much knowledge has been entrusted to us through the Guru-Shishya tradition, and I believe it would be a great loss if we failed to carry that legacy forward. We are preserving history, values, music, literature, and a way of understanding the world.


My students are another constant source of inspiration. When I see the commitment they bring to class week after week, despite their own busy schedules, it motivates me to give them even more. Their dedication pushes me not only to pass on what was taught to me, but also to continue creating new choreographic works and finding fresh ways to present the tradition while remaining rooted in its essence.

Music itself is also a powerful motivator. Classical music—and even thoughtful classical fusion music when it is approached with respect and understanding—continues to inspire me. Sometimes a single melody, rhythm, or musical phrase can instantly spark a movement, an emotion, or an entirely new choreographic idea. Ultimately, what keeps me going is the knowledge that I am part of a much larger continuum. I inherited this tradition from my teachers, and it is now my privilege and responsibility to pass it on to those who come after me.