Kartak's dance movements are not based on the principle that the feet should touch, the legs should be straight or the knees should be bent, nor is it based on the principle that the body should be curled into a ball, a semicircle or an "8" shape. Its dance action is directly determined by the period of the beat, and the rhythm can change within the period of the beat. Tata Kara in Katak dance refers to the dancer's ability to complete various rhythmic movements in a basic beat period. This dance form is characterized by jumping and rotating movements. Different from other dance forms, only in katak dance do dancers lift their feet when jumping. This movement has therefore become a unique style of katak dance. In this process, dancers only overcome gravity and do not advance or retreat in space. In the "Plomley" movement, Kartak dancers quickly draw circles on the stage with their bodies as the axis, one foot as the center and the other foot as the compass arm. In addition to static movements, katak dance also includes various dynamic movements, such as tribhaga (bending the body into three different parts), abhanga (keeping the body slightly out of balance) and ardhmandali (semi-sitting posture). This dance form is also famous for its trunk movements. The manipulation of the upper body is only reflected in the change of shoulder angle. This action endows the dance with unique fluency and unique trunk posture. Shoulder movements (one end of the shoulder sinks and the other end rises) especially often occur when completing an action called "Gesag Masag".
The movement of the arm is clear, but it does not form a separate geometric pattern. In the basic posture, the dancer dances with one arm raised above his head and the other arm half straight forward or slightly bent in a circle. The arm movement near the waist is called "Hamsaye". In the basic pose of the svastika step (crossing at the back), the dancer holds the crown representing Krishna on her right arm and the Queen Rada on her left arm. There are many kinds of arm movements in katak dance, including Musdi, Chical, Hamsaye, Quindera Guerra, Ala Badem and so on.
Katak dance can be divided into three different parts, namely Nritta (pure dance rhythm part), Natya (plot part) and Nrity (expression part). Nritta is the sum of all kinds of coordinated movements in dance, while Natya gives dance substance. Nritya tells a story or a poem by combining dance and drama. The part of Nritta usually begins in the traditional way, called "Amod". "Amod" usually begins with a prayer to Ganesha in the middle of a beat period of 16 and ends with a short rotation. The next part is called Ted. It is a way for Kartak dancers to show the different movements of angas and Ubenges. "Ted" is the initial posture of the dance, and the dancer's body needs to be "steady as loose", with his right arm Qi Mei bent and his left arm hanging at his waist. Dancers stand with their feet crossed, their right feet slightly bent, and only their toes touch the ground. The posture of "Ted" has a lot of movements. In elegant neck movements, it is emphasized that different emotions are naturally expressed between eyes. Katak dance uses eyes and symbols as the media to accurately express the literal meaning of songs through dance movements and postures, as well as singing and emotion. Another important aspect of katak dance is the use of rhythm. The dancer has made clear the details of the rhythm before the performance. This is the so-called "Bertante", which literally means "read out". This is a striking feature of any dance performance. It appeared with the appearance of katak dance and was handed down in three parts: Nritta, Nritya and Natya. Another purpose of Bertante is to remind percussion players who are in charge of accompaniment to pay attention to the style of dance music. This requires accurate and comprehensive control of the whole process of dance performance. For dancers, it is necessary to accompany percussion music, even if they can't get out of control for any second, they should also emphasize improvisation. The Abbina sub-part of katak dance has disappeared from many traditional dances in central India. Accompanied by sweet singing, dancers convey their meaning through dance movements. Dance poetry has been gradually replaced by the wordless abstract melody played by Salem Guqin.
There are many kinds of performances in dance, including body performance (angika), language performance (vacika), modified performance (aharya) and pure performance (sattvika). Body expression is mainly reflected by the dancer's trunk and limbs. The so-called "performance" in katak dance has two meanings: one is dancing and the other is performing imitation. Dancing is completely independent of language to express meaning. Dancers enter the stage in the form of "GoldPard" and "Godny Gus", and then perform simple dance fragments reflecting the life of Krishna and the milkmaid.
Closely related to the dance posture is Kartak dancer's nayikabheda performance. Dancers set off different heroines through undulating music instead of accompanying songs. Eight traditional Indian heroines were performed by Kartak dancers. These are all displays of emotions, and the dominant emotions show endless changes.
The transitional stage in katak dance is reflected in the main part of the performance. Dancers perform different performances with different styles of poetry and music. It was originally performed by a charming dancer with a powerful tune. Later, these two tunes gradually fell behind and were replaced by two other tunes, namely "Holly" and "Tamal". Holly is a group of songs with the characteristics of North Indian music, usually sung with the rhythm of "flute-like Di Chin". This is a lyric song to celebrate Holi Festival. The name "Tamal" comes from the 14 beat rhythm called "Tamal", and the singer should sing this song with piety.
The most abundant part of the dance performance is a musical work called Civil Engineering. Become a solid foundation for Kartak dancers to perform. Kartak dancers sometimes interpret the whole song, sometimes only a few words, and sometimes the subtle differences between words. Under the given framework, singers can reflect many changes, and dancers will also reflect corresponding changes in dance content. This requires dancers to have rich imagination in order to quickly turn the meaning of lyrics into many images, and then show them through actions. For example, the simple word "road" can be interpreted as the milky way or as a woman's hair seam. Footsteps are insignificant in dance. Even if dancers don't take a sitting position, they can hardly see the movements of their feet when interpreting songs. Dancers only express their feelings through hand movements, eyes and eyebrows. Katak dance has always maintained a strong vitality, because "Tuli" and "Tara" (a rhythm in Indian music) enrich the dancers' performance in dance and performance. "Dadela" is another musical work used in Kartak's dance performance. Its name comes from the rhythm type of the same name. This rhythm type includes two groups, a group of three beats. As another music work that has attracted much attention, there are also a lot of explanatory dances about it in Katak dance.