With the increase of human awareness and cognition about the phenomena around it, some rituals gradually lost their function in interpreting and justifying the above phenomena or were completely abandoned and rejected or found new functions with changes in form and structure. One of these rituals is the ritual ceremony of karb-zani which has a performance pattern in the place of traditional-religious dance, like other similar dances. This performance pattern has semantic implications that can be referred to the cultural context and can be deciphered in the same field. In this study, an attempt has been made to answer these questions by examining the movement patterns and contextual elements related to this traditional-religious dance. What components in the postures and movements of a ritual can classify it as a ritual of dance? What are the performance patterns of of Karb-zani ceremonies that are the representation of cultural significations? In order to reach the answer, qualitative and descriptive-analytical methods have been used. In determining the position of the similarity of this ritual with dance, this study has investigated the elements associated with dance and have witnessed contextual elements associated with dance in the ritual of karb-zani. The musical element in this ritual is created with two components: “music production tools” and “poetry” in “Nava Music”. The karb is used as a symbol of mourning and grief is also used as a dance-related tool which increases the impact on the audience. The physical techniques of the ritual performers have symbolic implications of sacred values, the connection with the earthly world, and the allegorical representation of the victory of good over evil and the holy over the unholy. Therefore, it can be said that this ritual in Shiie mourning ceremonies is the representation and reproduction of cultural connotations with a sacred and religious core.