Ballet was first practiced in the Italian Renaissance courts of the 15th century. Lavish events, especially wedding celebrations, featured dancing and music to enhance the festivities. Dancing masters taught steps to the nobility, who participated in the performances.

In the 16th century, Catherine de Medici, an Italian noblewoman and wife of King Henry II of France, became a great patron of the arts and began funding ballet in the French court.
A century later, King Louis XIV helped popularize and standardize ballet. A passionate dancer, he performed many roles himself, including the Sun King in Ballet de la nuit. His love for ballet fostered its growth in popularity and led to the evolution of ballet from an amateur pastime to a profession requiring formal training.

A dance academy opened in Paris in 1661, and by 1681, ballet had transitioned from the courts to the stage. French operas incorporated elements of ballet for a time, and by the 1700s, French ballet master Jean Georges Noverre believed that ballet could tell a story on its own. This began the evolution toward the narrative ballets of the 19th century.

In the first half of the 19th century, during the Romantic Movement, classical ballets such as Giselle and La Sylphide were created. The Romantic Movement, with its fascination with the supernatural, spirits, and magic, influenced the stories of these ballets. It was during this time that dancing on the tips of the toes, or pointe work, became common practice. Ballet's popularity grew immensely in Russia, where composers and directors significantly influenced its development. Marius Petipa's The Nutcracker, The Sleeping Beauty, and Swan Lake (co-choreographed with Lev Ivanov) are among the grandest classical ballets from this period. Ballet choreography aimed to showcase advanced classical technique, including complex pointe work, high extensions, turnout, and precise movements.
Quick, intricate patterns, large leaps, and turns enhanced storytelling. Classical tutus became stiffer and shorter than the longer Romantic tutus, allowing audiences to see the dancers' legs and appreciate the challenging movements.

In the early 20th century, ballet choreographers began pushing boundaries by experimenting with movement and costume, moving beyond traditional storytelling. Russian choreographers Sergei Diaghilev and Michel Fokine collaborated with composer Igor Stravinsky on The Rite of Spring, a ballet with dissonant music and a story of human sacrifice. Its unfamiliarity caused such unrest that the audience rioted. Another influential Russian choreographer, George Balanchine, emigrated to America and founded the New York City Ballet. Balanchine's work, known for its neo-classical style, introduced story-less ballets that focused on movement inspired by music rather than narrative.
 
Today, ballet companies worldwide perform classical ballets created over centuries and produce new works. They continue the practice of creating intriguing art that interprets music through movement and tells compelling stories for their audiences.