The popularity of belly dancing seems suitable, considering the undulating movements that characterize the dance style. Although more recent peaks in interest result from Shakira's hip-shaking, as well as from global events, the longstanding traditions and liberating qualities of belly dancing have strong roots in Middle Eastern and American cultures.

The Habibi Dancers, a non-profit dance company in East Lansing, aims to preserve these traditions, while educating the community about Middle Eastern customs through dance and music.

"Our world is getting smaller," says Garnett Kepler, dancer, instructor, and artistic director. "That brings interest to art forms like Middle Eastern dance."

Habibi Dancers prides itself on being the only dance troupe in the state that welcomes professional Middle Eastern-style dancers to perform. This year marks Habibi Dancers' 27th anniversary, and the arrival of special guest John Compton at the company's annual spring event.

"His involvement in belly dancing goes back to the ‘60s, when the first wave of belly dancing hit San Francisco," Kepler said.

Compton is America's first dancer in the "Khawal" style since Chicago's 1893 World Fair. Aida, Kepler's teacher who also came out of the San Francisco movement, will make an appearance. The event is family friendly, educational, and highlights a local student troupe among the otherwise all-professional cast.

Ancient Rhythms Hannah Community Center, East Lansing April 16-17 Performance: $15 advance, $20 door habibidancers.org

"It is really nice to have seasoned teachers come and impart their wisdom at events such as this," Kepler said.

When the Habibi Dancers are on a break from the Spring Event, they visit local schools and festivals for educational performances.

"Ultimately, we want to give the community a good idea of our purpose as a Middle Eastern dance company," Kepler said. "For example, before performing a dance indigenous to Tunisia, we'll explain that their main export is pottery, and a few other facts about the country."

The Habibi Dancers also focus on spreading the liberating elements inherent in belly dancing. Kepler, who received training at the Lansing Ballet Company, was partially attracted to Middle Eastern dance due to the choices available.

"The costumes especially are much more fun. There is way more variety besides tights and a tutu," Kepler said.

Variety manifests itself in the eclectic group of women that make up Habibi Dancers. Many have backgrounds with other dance forms, while others became hooked while seeking to lose baby weight.

"As a woman, it is a very empowering style of dance," Kepler said. "It's great for self-esteem and excellent exercise."

2011 marks the twentieth professional season of the Eisenhower Dance Ensemble, Michigan's premier modern dance company. Considered to be one of the finest contemporary dance ensembles in the nation, the Detroit dance company gained notoriety for its diverse range of contemporary works and stunning choreography. In a return engagement, the exhilarating dance company brings its panache and innovative choreography to the Charlotte Performing Arts Center this month.

Some of the company's many highlights include their successful New York City debut and traveling to St. Petersburg, Russia. EDE just wrapped up a two-week tour and choreographic residency in Minnesota and Illinois, one of its longest tours. It is also anticipating its upcoming performance at the Detroit Opera House.

When Laurie Eisenhower, artistic director and founder, reflects upon the achievements of the company in the past 20 years, she says that the little successes along the way really add up.

"Overall, it's been thrilling to watch a small company grow into a nationally acclaimed company," the Outstanding Michigan Arts Award winner said.

EDE plans to showcase its best work at the upcoming Charlotte Performing Arts Center performance. The show will be a mix of old and new, with the first half reviving repertory from the earlier years of the company. "Red Dress," a duet choreographed during the first year of the company, will be making an appearance.

"It's definitely a crowd favorite due to the comedic elements," Eisenhower said.

The second half of the performance features "Dances from the Heart of Rock n' Roll." The piece acts as a heartfelt tribute to Bob Dylan, Van Morrison, and Neil Young. Eisenhower composed the piece for her husband, who battled cancer.

Eisenhower Dance Ensemble Charlotte Performing Arts Center March 26, 7:30 p.m. $26, $16 for students cacpresents.com, (517) 541-5690

"This piece is very close to me; since it uses music he listened to and spoke to me about our relationship."

The company has performed "Dances from the Heart of Rock n' Roll" for three years, and it is under constant modification. The piece stands as an example of one of the many nuanced works created by the company that audiences and critics admire.

"The choreography speaks to audiences because it's accessible and the emotional range is relatable," Eisenhower said.

In addition to the enthralling choreography and the virtuosic skill of the Eisenhower dancers, the company is extremely focused on surrounding dance communities.

"Our last trip was beyond great, and we're excited to grant young dancers the opportunity to perform with professionals."

Nearly everyone knows the proverbial story of Shakespeare's Romeo and Juliet: two young star-crossed lovers meet, they fall in love, and then they perish after an unfortunate series of misunderstandings.

The tragic-yet-romantic tale has been retold countless times, providing a challenge for artistic directors that wish to add their own spin on the production.

The Russian National Ballet Theatre, which will present its production of Romeo and Juliet this month at the Wharton Center, promises a traditional-yet-exuberant performance that will please balletomanes and curious members of the audience alike.

"The Russian National Ballet Theatre is one of the best ballet dance companies in the world," said Bob Hoffman, Wharton Center public relations manager. "The last time they were in town during the 2008-2009 season they sold out the performance of Sleeping Beauty. I expect they'll do the same with Romeo and Juliet."

The Russian National Ballet Theatre was founded in Moscow during the transitional period of Perestroika in the late 1980s. The newfound creative freedom of the era allowed dancers to revisit the classical technique and choreography of traditional Russian ballet, but also invited new developments in dance from across the globe. The result is 23 dancers trained in the finest Russian dance institutions, who can execute a thrilling performance that can rival any modern dance production. For this particular show, the Ballet will adhere to the tragic ending of Romeo and Juliet (despite its wandering from the similar conclusion in its production of Swan Lake). Even the music will adhere to classical tastes.

Russian National Ballet Theatre: Romeo and Juliet Jan. 7, 8 p.m. $38-$25 whartoncenter.com, (517) 432-2000

"This production will be different as it will be using Tchaikovksy's music, as opposed to the more modern Prokofiev score," said Artistic Director Seton Ijams.

The single showing is Jan. 7 at 8 p.m., precluded by a free preview lecture 45 minutes before the performance begins.

"Dance critic Kate O'Neill will provide insight into what the audience will see onstage. If you can make these free lectures, it really will add your experience," Hoffman said.

With a combination of old school music, astounding choreography, and graceful ballet technique, the Russian National Ballet's production of Romeo and Juliet promises to provide a refreshing traditional version of a story that has been revisited in many artistic platforms.

Witness the billowing, swaying and whirling of endless folds of vibrant fabric, set in motion with calculated steps of a dance rich in multi-cultural history. Every flourish of perfectly arching limbs and bounding bodies draws from a deep wellspring of artful, indigenous movement, passed along for generations and reinvented for a theatrical dance production unlike any other. Parisian ballet meets Mexican folklore, in a specialized production that has grown from one woman's passion into a high demand show.

The current incarnation of Ballet Folklórico de México, founded by Amalia Hernández in 1952, has been travelling and performing together for the past decade. The dance company has presented resplendent shows worldwide, promoting the rich culture of Mexico, while maintaining a professional dance academy, the School of the Ballet Folklórico, in Mexico City. Although the once modest-sized company was initially controversial for flouting conventional dance norms, Hernández persevered, eventually achieving cross-cultural renown.

The impactful and dynamic dances performed for audiences around the globe are "very strong and versatile [with] contrast among different dances," which provides a striking texture of movement, describes Salvador Lopez, executive director of Ballet Folklórico de México and grandson of Amalia Hernández.

Ballet Folklórico de México Cobb Great Hall, Wharton Center, East Lansing March 4, 7:30 p.m. $15-$28 whartoncenter.com, (517) 432-2000

"[Hernández] was able to introduce what happens in our culture and put it on stage, [making] it stylish and elegant," Lopez said. "When you take the dance from the place where it happens and you put it on stage, you have to change [it] in terms of time and space. The challenge is to introduce the essence of a dance that lasts a very long time and make it into three minutes of dance."

The creation of the company began when the highly trained Hernández traveled throughout Mexico and "brought people from [different places] to take what they do and subtract the essence of that dance or ceremony into short song and dynamic dance essence," said Lopez.

Fusing indigenous dance with modern ballet conventions, Hernández shaped an impressive dance sensation, with the troupe garnering more than 200 awards and recognition from cultural figures, including a weekly television spot and visits with presidents, like John F. Kennedy.

The 2010 tour of Ballet Folklórico de México holds special emphasis as it coincides with the bicentennial celebration of Mexico's revolution and independence. Experience firsthand the unique meld of dance that crosses cultures and disciplines, not only pairing historic, indigenous dance styles with ballet, but also blending a wide range of local dance forms together to create a colorful showcase of skilled movement.