Kathaks were originally story-tellers or troubadours who used dance to illustrate �Kathas� or stories. They were attached to temples of North India.

With the advent of the Muslim rule, Kathak went from the temple to the courts. Consequently Kathak flowered as a form in the Hindu Courts of Delhi, Agra and Lucknow. Court patronage evolved Kathak into a highly technical and stylised art with emphasis on the solo performers and their virtuosity.

Gradually, the two schools became distinctively different-the Jaipur Gharana focussed on layakari, or rhythmic wizardry, while the Lucknow Gharana expounded bhava or moods and emotions. Nawab Wajid Ali Shah was instrumental in the Lucknow Gharana�s growth. (see Satyajit Ray�s Shatranj Ke Khilari) deal with the period). However, both schools have Radha & Krishna as their central theme.

Rhythm, timing and so footwork are the main planks of Kathak. The musical accompaniment to the 200 ghungrus or bells on the dancer�s feet, are the sarangi and the tabla.