In its fifty years of activity, Linđo has successfully introduced and presented a significant number of representative choreographies from the area of Southeast Europe. Along with the artistic director and choreographer Sulejman Muratović, numerous choreographies were performed by eminent choreographers and dancers, mainly from the leading folklore ensembles – Lada, Kola, Šota and Tanec.

The variety of the dance repertoire, different dance dynamics and elements, as well as musical traditions and exotic folk costumes, are what made Linđo's performances, resembling a colourful kaleidoscope, were the best representation of the totality and heterogeneity of the folk culture of the country at that time. The choreographies performed by the Ensemble from the very beginning of its official activities in the 1960s are the Sava Basin Dances, the Dances of the Bunjevci, the Trno mome and Šopsko oro chain dances (southeastern Serbia – the ethnic community of the Shopi/Torlaks), the Katanka (eastern Serbia), the Banat momačko nadigravanje male chain dance, the Rugova Sword Dance and the Šota (Kosovo), the Vranje Dances (southern Serbia), the Vardar Basin Dances (Macedonia) and the Dubrovnik Poskočica Linđo (1966). Sulejman Muratović created and directed the choreography for all the above dances, and all the musical arrangements, except the one for the Dubrovnik Poskočica Linđo (by Đorđe Begu), were written by Antun Simatović. Along with the mentioned dances, in its very beginnings, the Linđo performed the Nevestinsko oro female chain dance (Ženska Makedonija – Prsten mi padna nešo) choreographed by Višnja Vukmanić and musically arranged by Antun Simatović. Due to the rising public affirmation of the folklore ensemble and the increase of its audience, as well as the enrolment of new members, there was a need to expand and enrich the dance programme by introducing new choreographies. The recognisability of Linđo on the folklore scene of the former state enabled cooperation with numerous eminent choreographers and musicians from the national ensembles Lado (Croatia), Tanec (Macedonia), Kolo (Serbia) and Šota (Kosovo). In 1968, the Zagorje Dances – Ideju težaki (choreography and music: Milivoj Pogrmilović) were staged, followed by the Sava Basin Dances (choreography and music: Zvonimir Ljevaković), the Valpovo Dances (choreography: Sulejman Muratović, music: Zlatko Potočnik), the Baranja Dances (choreography: Sulejman Muratović, music: Đorđe Begu), the Rugova Canyon Dances (choreography: Vjaćeslav Slavko Kvasnevski, music: Petar Josimović) and the Serbian Dances (choreography: Olga Skovran), while the Vrlika Wheel Dance premiered in 1970 (choreography: Branko Šegović) and the Slovenian Gorenjska Dances (choreography and music: Tončka Maroltova) in 1975. The mid-seventies saw the staging of the Zagorje Dances (choreography and music: Zvonimir Ljevaković) and the Prigorje Dances (choreography and music: Zvonimir Ljevaković), while the Macedonian Osogovka (choreography: Dimitrij Mitke Aleksov, music: Gjorgji Dimčevski) premiered at the end of the seventies. In 1979, the Šokci Dances from Bač and Plavna (choreography: Dragomir Vuković) were staged. In the seventies, the Konavle Potkolo choreography was also performed, transferred from the field to the stage under the supervision of Sulejman Muratović, and the rehearsals for, and development of, the Bosnian Dances choreography were also in progress, but it was never completed and staged. In the seventies, the Vranje Dances, although very attractive in terms of performance, were excluded from the programme because they included certain choreographic solutions which did not conform fully to the concept of authentic folklore. At the beginning of the eighties, the Macedonian female dance Žensko Čamče (choreography: Rada Višinska, music: Gjorgji Dimčevski), performed only over the following two years, and the Mariovska tresenica circle dance (choreography: Jonce Hristovski, music: Gjorgji Dimčevski) were introduced, the latter remaining in the Ensemble's programme until 1989. Furthermore, at the beginning of the 1980s, the dance numbers Vlach Dances (choreography: Dragomir Vuković, music: Petar Josimović), Glamoč Silent Circle Dance (choreography: Sulejman Muratović) and Little Međimurje (choreography: Ivan Ivančan, music: Mario Pleša) were introduced, followed by the Draganić Dances (choreography: Ivan Šulina, music: Krešimir Magdić) and the Istrian Balun (choreography and music: Đuro Adamović), introduced in the same decade. In the same period, Sulejman Muratović adapted and directed the staging of the Konavle wedding ceremony for the purposes of the play Dundo Maroje performed at the Dubrovnik Summer Festival, to the music by Krešimir Magdić. In 1985, the final wheel dance from the opera Ero s onoga svijeta was also staged (choreography: Branko Marković, music: Jakov Gotovac). The Traditional Urban Dances (choreography: Branko Šegović, music: Krešimir Magdić) and Timočka Krajina Dances (choreography: Dobrivoje Putnik, music: Borivoje Ilić) were also staged in 1985. At the end of the 1980s, the Crnogorsko oro wheel dance was also rehearsed, but the choreography was never completed and staged. After the Homeland War, the choreographies from the neighbouring countries were removed from the dance programme, but the following choreographies remained part of it: the Šokci Dances from Bač and Plavna, the Prigorje Dances, the Dubrovnik Poskočica Linđo, the Vrlika Wheel Dance, the Istrian Balun, the Traditional Urban Dances, the Little Međimurje, the Draganić Dances, the Baranja Dances, the Sava Basin Dances, the Bunjevci Dances and the Valpovo Dances. A whole range of new choreographies from the Croatian dance area was also introduced, namely: the Dubrovnik Contra Dances (choreography: Branko Šegović, music: Đorđe Begu) in 1996, the Zaprešić Dances (choreography: Zvonimir Reljić, music: Zlatko Potočnik) at the end of the 1990s, followed by the Slavonian Dances (choreography: Branka Mikačić, music: Drago Mikačić), the Turopolje Dances (choreography: Mojmir Golemac, musical: Dražen Kurilovčan), the Međimurje Dances (choreography: Nenad Breka, Davor Krivačić / Toni Hlede) in 2000, the Konavle Dances (choreographer: Mario Kristić, music: Enes Omerčahić) in 2003, the Tanac from the Island of Susak (choreography: Ivan Dabac, music: Jadran Radonić) in 2012. With the arrival of Krunoslav Šokac in 2016, the Ensemble's dance programme was enriched by two new choreographies – Ajd za milim, ajd za dragim – Songs and Dances of the Slavonski Brod Area (choreography: Krunoslav Šokac, music: Duško Topić) and From Petarda to Ižip – Songs and Dances of Baranja (choreography: Krunoslav Šokac, music: Duško Topić), while in 2018, the Ensemble's programme was expanded to include one of the most frequently performed Croatian choreographies – the Podravski svati wedding dance (choreography: Ivan Ivančan, music: Marijan Makar).

Vocal performances - a capella or accompanied by an orchestra - of traditional songs and original compositions, were also an essential part of the Linđo Folklore Ensemble's performance. The Ensemble also released four LP records and accompanying audio cassettes. The first audio cassette was released in 1974 under the title Dobra večer mi kucamo (Jugoton, CAY-339), followed by the eponymous record in 1975 (Jugoton, LSY-63019) and the record Homo u kolo in 1977 (Jugoton, LSY-61340), which was followed by the eponymous cassette in 1978 (Jugoton, CAY-520). These were followed by the 1982 record Došli smo vas kolendati (Jugoton, LSY-61690) and the accompanying cassette (Jugoton, CAY-1088), while the last record was released on the occasion of the Ensemble's 20-year anniversary under the title Linđo – 1965-1985 (Jugoton, LSY-62051) along with the accompanying audio cassette (Jugoton, CAY-1710). The album Homo u kolo was released in 1995 by Croatia Records and its new remastered edition was released in August 2017.

The programme of instrumental and instrumental and vocal performances of the orchestra included the following compositions: Stari sat – dalmatinski ples (traditional / Krešimir Magdić), Štiri snehe (traditional / Drago Vučenik), Stara kolenda iz Zatona (traditional / Krešimir Magdić), Potkolo i žetelačka pjesma iz Konavala (traditional / Antun Simatović), Stari župski ples (traditional / Krešimir Magdić), Stara dubrovačka kolenda (traditional / Antun Simatović), Makedonsko oro dvojka (traditional / Antun Simatović), Stara Vlajina (traditional / Antun Simatović), Potočić maleni (traditional / Antun Simatović), Osogovka (traditional), Edno malo mome (traditional / Antun Simatović), Makedonsko oro (traditional / Antun Simatović), Kolo svetog Tripuna (traditional / Krešimir Magdić) and Kontradanca Pobjeda (traditional). The following traditional compositions and wheel dances were also performed to the accompaniment of the tamburitza: Banatski mađarac (traditional / Antun Simatović), Tamburaško kolo uz samicu (traditional / Đorđe Begu), Tucin spletokolo (traditional / Antun Nikolić Tuce), Tamburaši pokraj Dunava (Zoran Jakunić), Drmeš iz Trebarjeva Desnog (traditional / Duško Topić), Cvetje moje (traditional / Duško Topić), Došlo mi je pismo (traditional / Zoran Jakunić), Vehni, vehni fijolica (traditional / Krešimir Magdić), Maramica na stazi (traditional / Enes Omerčahić), Nekaj grmi z Otrovanca (Božo Potočnik / Drago Britvić / Božo Potočnik).

The colourful repertoire of the Linđo Folklore Ensemble's klapa has significantly enriched the Ensemble's activities, making traditional Dalmatian song widely recognizable. The klapa's a capella programme consisted of the following compositions: Žilju moj pribili (traditional / Krešimir Magdić), Divne li ste Konavle nam milo (Miho Demović / Pero Bokarica), Da li te ljubim (traditional / Krešimir Magdić), Djevojka hodi (Josip Kaplan / traditional / Krešimir Magdić), I kliče djevojka (traditional / Krešimir Magdić), Smilje brala (Slavko Olujić / traditional / Krešimir Magdić), Kampošonto (Krešimir Magdić / Antun Nižetić), Omili mi se u selu divojka (traditional / Antun Simatović), Plavi putevi mora (Mario Nardelli / Mario Nardelli / Antun Simatović), Pismo moja hrli tamo (traditional / Duško Tambača), Dojdi u krilo moje (traditional / Joško Buble), Na suroj hridi kraj plavoga mora (traditional / Vedran Ivanković), Lipe li su Zadarke divojke (traditional / Blagoje Bersa), Ako ti draga ja na more pođem (traditional / Miho Bulić), Šetala se Jelica i Ive (traditional / Ivica Frleta), Tiridonda (traditional / Vedran Ivanković), Sutra u sedam (Jerko Rošin / Nikola Buble), Skoro sam se junak oženio (traditional / Krešimir Magdić), Tri divojke (traditional / spontaneous singing). Apart from klapa songs performed a capella, the following compositions were performed to the accompaniment of instruments: Dragi dragu ostavljaše (traditional / Krešimir Magdić), Ah, pribila moja vilo (traditional / Krešimir Magdić), Tvoji bojeg jemaju (Igor Brešan / Krešimir Magdić), Lopućka Mare (Vladimir Bedrović / Antun Gleđević / Krešimir Magdić), Tihe noći (traditional / Antun Simatović), U vrtu ružu je brala (traditional / Antun Simatović), Poletjele bijele vile (traditional / Antun Simatović), Gospodaru, zlatna kito (traditional), Izašla je zelena naranča (traditional / Antun Simatović), Dva Bracanina (traditional / Antun Simatović), Lipi li je varoš naš (Ljubo Stipišić Delmata / Edi Marčić), Nosim te zemljo (traditional / Antun Simatović), Dok sam tebe ljubio (Đelo Jusić / Stjepan Benzon), U šumici na travici (traditional / Antun Simatović), Pero Bonda (Mario Nardelli), Ljubav je bol (traditional / Vedran Ivanković), Ružice rumena (traditional / Miho Bulić), Za ribara (traditional / Vedran Ivanković), Sve su koke poludile (traditional / Krešimir Magdić / Vedran Ivanković), Slušaj mati ove riči moje (traditional / Vedran Ivanković), Zbogom ostaj (Krešimir Magdić), Na brijegu kuća mala (traditional / Vedran Ivanković), Vehni, vehni fijolica (traditional / Vedran Ivanković – Enes Omerčahić), Ribara starog kći (traditional / Vedran Ivanković), Marenda (Nikica Kalogjera, Arsen Dedić / Mario Nardelli / Vedran Ivanković), Ča ko voli, ča ko zna (Mario Nardelli), Vozila se Mare Kata (traditional / Krešimir Magdić), Mornarev san (Krešimir Magdić), Ja nikog nemam (traditional / Vedran Ivanković), Ja san, majko, cura fina (traditional / Vedran Ivanković). Apart from numbers which were part of ordinary public or private performances and concerts for guests, traditional Christmas performances also had a wide repertoire.

Christmas songs performed a capella by a choir or klapa included: Dobra večer Bog da (traditional / Ljubo Stipišić Delmata), U sve vrime godišta (traditional / Izak Špralja / Nikola Buble), Kolenda iz Sridnjega sela (traditional / Krešimir Magdić), Svim na zemlji mir, veselje (traditional / Nikola Buble), Preveliku radost navješćujem vama (spontaneous singing), Narodi nam se (traditional / Nikola Buble), Djetešce nam se rodilo (traditional / Vedran Ivanković), Veseli se majko Božja (traditional / Vedran Ivanković) and Dubrovačka kolenda (traditional / Vedran Ivanković), while the following Christmas songs were performed to the accompaniment of an orchestra: Oj djetešce moje drago (traditional / Vedran Ivanković), O sveta tri kralja (traditional / Vedran Ivanković), Amo nebeski anđeli (traditional / Tomislav Habulin), Poslunete dušice (traditional / Tomislav Habulin), Radujte se narodi (traditional / Vedran Ivanković), Oj pastiri čudo novo (traditional / Vedran Ivanković), Na očice se tvoje (traditional / Miho Bulić), O Lucijo sveta (Nikša Krpetić / Nikša Krpetić / Vedran Ivanković), Svim na zemlji mir, veselje (traditional / Vedran Ivanković), Kyrie eleison (traditional / Vedran Ivanković), Tiha noć (Franz Gruber / Joseph Mohr / Vedran Ivanković), Spavaj mali Božiću (traditional / Vedran Ivanković), Ralilulela (traditional / Vedran Ivanković), Čujete li čobani (Duško Topić), Marija Divica sinka porodila (Duško Topić), Dobra večer, Gospodine moj (traditional / Vedran Ivanković), Veselje ti navješćujem (traditional / Vedran Ivanković), U sve vrijeme godišta (traditional / Vedran Ivanković) and Dobra večer, dobri ljudi (traditional / Božo Potočnik).