The circle dance (kolo) is one of the basic forms of Croatian folk dance. Because of its simplicity, the kolo, a circular form of dance in which the dancers follow each other around in the circle, is unusually widespread and can even be called a general human phenomenon. The circle dance is regarded as the oldest form of dance, manifesting a marked need for expression of community. Throughout a large part of Croatia right up until World War II, and in some places as late as the 1950s, the kolo had been the centre of village social life. The kolo as a dance and as a social gathering was the main place at which young women and men could get to know each other, express mutual liking, make pledges of brotherhood and sisterhood, and also provided an opportunity for mockery and social criticism. Through the singing of jocular verses during the performance of the kolo, everyone was able to express his or her feelings, to approach anyone present, to disclose misbehaviour, to mock a male or female opponent, and to criticise recent events in the village. By singing, movement, and gestures one could express what was proscribed in ordinary speech.

In different geo-morphological and cultural surroundings in Croatia, kolo has different characteristics. Leading the circle dances (usually at Easter and during the customs of the spring cycle, around the bonfires, and around the tables at weddings) to the singing of ballad verses was well known as the older layer of dance repertoire until the end of the 19th century in Hrvatsko Zagorje and Međimurje. At that time, the kolo had ritual function, usually connected with the cult of fertility. With the penetration of couple dances from the northwest, the circle dances there were almost completely neglected and forgotten. The sung circle dances remain dominant among the dances of the Pannonian part of Croatia (Podravina, Bilogora, Moslavina, Posavina and Slavonia). In Slavonia, the kolo was danced to song but also to the music of a bagpipe (gajde) - a wind instrument with a bag known among many European and non-European peoples. Since the beginning of 20th century, tamburitza ensembles have prevailed in providing music for kolo-dancing. The kolo commences with energetic dancing and slight shaking of the body. The music and dance are interrupted by the dancers who sing verse couplets that they improvise on the spot. At such intervals the dance calms and transforms into a light walk, and then takes up the fast tempo again after the verse - until the following interjection in song.

The old mute circle dance (nijemo kolo) without musical accompaniment is typical to the dance repertoire of the mountainous region. In this mountainous region with its largely stock-raising culture, the kolo is performed in large steps and leaps. The main accompaniment is the clanging of the women's jewellery and the deep breathing of the dancers. The circle dance can be open or enclosed, and couples can separate from the kolo group. Here the circle form has been almost completely lost in some areas, so that what is in fact dancing by couples has only retained the kolo name. The dance is not compact as in the Pannonian zone, because the dancers hold each other by their belts in keeping with the old tradition, and their movements utilise all of the floor space available. In performing the various dance figures, which interchange in the dance according to the commands, shouted out by the dance-caller, the young men and women mutually test each other’s physical capabilities.

In the Dalmatian villages, dances are also accompanied by the lijerica, a small three-stringed musical instrument, once found along the entire Adriatic coast. In more recent times, this instrument has survived in Croatia only on some of the islands and in the surroundings of Dubrovnik. Music played on the lijerica is mainly intended for accompaniment to the dances known as the kolo and poskočica - linđo. The lijerica-player is seated and strikes his foot on the floor, while the dance-leader calls out the commands in witty, often ambiguous verses, by which the dances change the dance figures and compete among themselves in improvisation.