[1] Its origin is attributed to the traveling bards in ancient northern India known as Kathakar ("storyteller"), who communicated stories from the Hindu epics through dance, songs and music.

While proto-Kathak elements can be seen long before, Kathak evolved during the Bhakti movement, particularly by incorporating the childhood and stories of the Hindu deity Krishna, as well as independently in the courts of north Indian kingdoms.

[10] It transitioned, adapted, and integrated the tastes of the Mughal courts[11] in the 16th and 17th centuries, particularly by Akbar, but stagnated and went into decline during the British colonial era,[12] then was reborn as India gained independence and sought to rediscover its ancient roots and a sense of national identity through the arts.

[14][15] Kathak has inspired simplified regional variants, such as the Bhavai – a form of rural theatre focussing on the tales of Hindu goddesses (Shakti), and one which emerged in the medieval era, is presently found in Gujarat, Rajasthan and Madhya Pradesh.

Combined with an epic story, tending to virtue, wealth, joy and spiritual freedom, it must contain the significance of every scripture and forward every art.

[23][27][28] Dance and performance arts, states this ancient Hindu text,[29] are a form of expression of spiritual ideas, virtues and the essence of scriptures.

[21][30] The 2nd century BC panels found in Bharhut show the dancers in a vertical stance with their arms' positions already suggesting today's Kathak movements.

[34] Ishwari taught his descendants, who in turn preserved the learning and developments through an oral tradition over six generations ultimately yielding the Lucknow version of the Kathak dance – a family tree that is acknowledged in both Hindu and Muslim music-related Indian literature.

[34] The evolution in Kathak dance theme during the Bhakti movement centered primarily around divine Krishna, his lover Radha and milkmaids (gopis) – around legends and texts such as the Bhagavata Purana found in the Vaishnavism tradition of Hinduism.

[15] Although central Asian influence of Kathak rapid whirls has been proposed, Sangitaratnakara, a 13th-century Sanskrit text on Indian classical music and dance in Chapter 4 mentions a dance movement with rapid whirling around like a wheel keeping the arms in the Dola pose and bending the body inwards called 'Cakramandala' It is employed in worshipping gods and in vigorous movement.

The Mughal era courts and nobles accepted Kathak as a form of aristocratic entertainment, which low income families were willing to provide.

Over time, the Kathak repertoire added Persian and Central Asian themes, such as the whirling of Sufi dance, the dress replaced sari with items that bared midriff and included a transparent veil of the type common with medieval Harem dancers.

[9] The seductive gestures and facial expressions during Kathak performances in Temples and family occasions were caricatured in The Wrongs of Indian Womanhood, published at the start of the 20th century, as evidence of "harlots, debased erotic culture, slavery to idols and priests" tradition, and Christian missionaries demanded that this must be stopped, launching the "anti-dance movement" or "anti-nautch movement" in 1892.

[43][44] Not only did missionaries and colonial officials ridicule the Kathak dancers, Indian men who had been educated in British institution and had adapted to Victorian prudery joined the criticism, states Margaret Walker, possibly because they had lost their cultural connection, no longer understood the underlying spiritual themes behind the dance, and assumed this was one of the "social ills, immoral and backward elements" in their heritage that they must stamp out.

[52] During the performance, one or more of the Kathak artists may come to the microphone, interact with the audience, explain something, tell an anecdote in a particular language, or rhythmically recite a song.

[15] Each bol has short sections, similar to technical exercises in western dance traditions, wherein the dancer engages the audience with tora, tukra, parhant, paran and others stressing footwork, gestures and turns.

[55] Nritya is slower and expressive aspect of Kathak that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions.

[17] In a nritya, the dance expands to include words, musical notes and gestures to articulate a legend or message, it is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.

Its roots are found in the Natyashastra text which defines drama in verse 6.10 as that which aesthetically arouses joy in the spectator, through the medium of actor's art of communication, that helps connect and transport the individual into a super sensual inner state of being.

[56] The Natya connects through abhinaya (literally, "carrying to the spectators"),[57] that is applying body-speech-mind and scene, wherein asserts Natyashastra, the actors communicate to the audience, through song and music.

[56] Drama in this ancient Sanskrit text, thus is an art to engage every aspect of life, in order to glorify and gift a state of joyful consciousness.

[61] The second variation of a Hindu Kathak dancer uses a long, full (just above the ankle), light-weight skirt usually with embroidered border that helps highlight the dance motion.

[61] The Muslim dress for female dancers also uses a skirt, but includes close fitting churidar pyjamas and sometimes a long coat covering hands and the upper body.

[68] The Jaipur gharana traces its origins to Bhanuji, a famed Shiva Tandava dancer who upon visiting Vrindavan was inspired and taught Natvari Nritya.

[69] The Jaipur style developed under the sponsorship of Rajput rulers, and they favored the Kathak dance with Hindu religious themes.

[34] This school thrived after the Mughal Empire collapsed, when Kathak artists moved from Delhi to Lucknow under the sponsorship of Avadh nawabs who favored court dance culture.

[74] Janakiprasad was a dancer and a Sanskrit scholar, and credited with inventing the bols of Kathak, which are mnemonic syllables within the language of this classical dance of India.

[76] Kathakali emerged in the southwestern region of India (modern Kerala), and is distinctive in its elaborate codified colorful makeup, masks and dress.

[77] Kathakali traditionally has been troupes of predominantly male actor-dancers, who dress up as hero, heroines, gods, goddesses, demons, demonesses, priests, animals and daily life characters.

[76] Both dance forms employ elaborate footwork, choreography and hand gestures, but Kathakali integrates south Indian martial arts movements such as leaps and jumps.