This is a big week for Justin Peck, the twenty-five-year-old N.Y.C.B. corps dancer who has emerged as a promising choreographer. His "Year of the Rabbit" - full of sporty, pleasing patterns - returns for a second look. Then the company reveals his second commission for the main stage, "Paz de la Jolla," set to Bohuslav Martinů"s spry, syncopated "Sinfonietta La Jolla," for piano and chamber orchestra. Martinů"s tribute to the rocky shores of Southern California - where Peck grew up - is well paired with the choreographer's dynamic approach and Reid Bartelme and Harriet Jung's beachy costumes. This highly intelligent veteran of the downtown scene, who began as an Irish step dancer, brings his company to the Joyce for the first time in eight years to present two recent works, "Fireweather" and "Left Exit." Both are movement-heavy ensemble pieces laced with religious imagery. "Fireweather," set to an atonal score for two pianos by the American composer Charles Wuorinen, deals with Dante's Inferno as seen through the eyes of William Blake. In "Left Exit," Curran grapples with the Catholic faith of his childhood through the prism of the 2008 documentary "The Examined Life." (175 Eighth Ave., at 19th St. 212-242-0800. Jan. 29 at 7:30, Jan. 31 at 8, and Feb. 2 at 2 and 8.) The roster of this all-female program - first presented last May - includes Kate Weare, a sophisticated choreographer of full-bodied movement, and the luminous Holley Farmer, formerly of the Merce Cunningham Dance Company, who performs Janis Brenner's solo "Contents May Have Shifted." Camille A. Brown, Carolyn Dorfman, and Jane Comfort are among the other dancemakers on the bill. (Joyce Theatre, 175 Eighth Ave., at 19th St. 212-242-0800. Jan. 30 at 7:30, Feb. 1 at 8, and Feb. 3 at 2 and 7:30.) The septuagenarian choreographer, one of the greats, has announced that the two New York premières in this program will be her last. "Les Yeux et l"Âme" is elegant, with postmodern bodies moving to Baroque music. "I'm Going to Toss These Arms - If You Catch Them They're Yours" takes place amid industrial fans. The program also includes "Homemade," the 1966 work in which Brown wore a film projector strapped to her back, revived by the always radiant Vicky Shick, and "Newark," a big, complex dance from 1987, with drop cloths by Donald Judd. (BAM's Howard Gilman Opera House, 30 Lafayette Ave., Brooklyn. Jan. 30-Feb. 2 at 7:30.) The inventor of "drastic classicism," Karole Armitage, débuts "Mechanics of the Dance Machine" at New York Live Arts. The piece marks her return to the address where, in 1981, she first mixed her potent brew of punk and extreme ballet. This evening-length work tackles fractal geometry through improvisational processes and shifting, asymmetrical patterns, abetted by a complex lighting design by Clifton Taylor. The music is by Gabriel Prokofiev, a composer of antic electronica (and, yes, Prokofiev's relative - his grandson). Charles Askegard, formerly of N.Y.C.B., appears as a guest. Jan. 31-Feb. 2 and Feb. 5 at 7:30. Through Feb. 9.) Now in its third year, the Brooklyn festival spreads twelve works across two weekends in double-bill evenings chased by saucy late-night cabarets. The final weekend features pieces by seven little-known choreographers and one by Alexandra Beller. (Irondale Center, 85 S. Oxford St. 718-488-9233. 2 at 7:30 and 9. Cabaret at 10:30.) Among the most promising selections of this wide-ranging festival are Alan Brown's "Five Dances," a coming-of-age tale choreographed by Jonah Bokaer; "To Dance Like a Man," a documentary about identical triplets in Cuba; "Trash Dance," about sanitation workers in Austin, Texas; a retrospective of films by the dancer turned director Shirley Clarke; and an evening dedicated to Ice Theatre of New York, which combines footage with a panel discussion, enlivened by Dick Button. (Walter Reade Theatre, Lincoln Center. Feb. 1-5. See dancefilms.org for complete schedule.) In the nineteen-thirties and forties, modern dance was political and left-leaning, and no one was more dedicated to social change through dance than the members of the New Dance Group. As part of the 92nd Street Y's "Fridays at Noon" series, choreography by such New Dance Group notables as Donald McKayle, Jane Dudley, Daniel Nagrin, Pearl Primus, and Anna Sokolow gets a rare airing, accompanied by archival footage and a panel discussion. (Lexington Ave. at 92nd St. 212-415-5500. Feb. 1 at noon.) The choreographic duo - darlings of European contemporary ballet - gets the cinematic treatment with an HD broadcast of a Dec. 20 performance by Nederlands Dans Theater. The troupe's tremendous dancers rip through León and Lightfoot's jerky, energetic style in three works: "SH-Boom," "Shoot the Moon," and "Same Difference." See balletincinema.com for locations nationwide. (Big Cinemas, 239 E. 59th St. 212-371-6682. Clearview Chelsea, 260 W. 23rd St. Feb. 3 at 11 A.M.) Like her former employer Martha Graham, Jacqulyn Buglisi is a choreographer who is unafraid of big emotions, grand gestures, and opulent music. Her dances draw upon the larger-than-life personalities of her dancers, many of whom are mature artists such as Terese Capucilli, a former Graham star, and the great ballerina and actress Martine van Hamel, a guest artist. Buglisi's company celebrates its twentieth season with a retrospective at the Joyce that includes "Rain," a meditation on rain forests, the urbane "Caravaggio Meets Hopper," and two new works and a series of solos from Nacho Duato's "Arenal." See joyce.org for programs. Feb. 5 at 7:30. Through Feb. 10.)