Kathak north Indian style of classical dance, characterized by rhythmic footwork danced under the weight of more than 100 ankle bells, spectacular spins, and the dramatic representation of themes from Persian and Urdu poetry alongside those of Hindu mythology. Kathak arose from the fusion of Hindu and Muslim cultures that took place during the Mughal period (1526-1761). More than any other South Asian dance form, kathak expresses the aesthetic principles of Islamic culture. The influence of kathak is also visible in the Spanish flamenco tradition.
The origins of the kathak style lie in the traditional recounting of Hindu myths by Brahmin priests called kathiks, who used mime and gesture for dramatic effect. Gradually, the storytelling became more stylized and evolved into a dance form. With the arrival in northern India of the Mughals, kathak was taken into the royal courts and developed into a sophisticated art form; through the patronage of the Mughal rulers, kathak took its current form. The emphasis of the dance moved from the religious to the aesthetic. In accordance with the aesthetics of Islamic culture, abhinaya (the use of mime and gesture) became more subtle, with emphasis placed on the performer's ability to express a theme in many different ways and with infinite nuances.
There are two main schools, or gharanas, of kathak dance, both of which are named after cities in northern India and both of which expanded under the patronage of regional princes. The Lucknow gharana developed a style of kathak that is characterized by precise, finely detailed movements and an emphasis on the exposition of thumri, a semiclassical style of love song. The Jaipur gharana required a mastery of complicated pure dance patterns. Nowadays, however, performers present a blend of kathak based on the styles of both gharanas.
A traditional kathak performance features a solo dancer on a stage, surrounded on all sides by the audience. The repertoire includes amad (the dramatic entrance of the dancer on stage); thaat (a slow, graceful section); tukra, tora, and paran (improvised dance compositions); parhant (rhythmic light steps), and tatkar (footwork). Male dancers perform in Persian costume of wide skirts and round caps, while female dancers wear a traditional Indian garment called a sari. Developments in this century include the use of kathak in large-scale dance dramas, pioneered by Pandit Birju Maharaj my respected Guru, the present leader of the Lucknow gharana.