By this time next week, “The Gates” will be gone. But before you start crying into your souvenir square of orange nylon, keep in mind that there is quite a lot going on in the dance world this week and next.

PAUL TAYLOR DANCE COMPANY On March 1,the company returns to City Center for its annual season. This time the season will last three weeks, instead of the usual two. And for good reason: The company is celebrating its 50th anniversary.

Mr. Taylor launched his dance company in May 1954 with a performance of his work at the Henry Street Settlement. Last year at this time, the company began a two-year celebration of its anniversary year with the ambitious goal of performing in all 50 states. While at City Center, the company will perform 19 works, 17 of which were created between 1956 and 2002.The other two dances are new to New York audiences.

“Klezmerbluegrass” – set to a score of klezmer and bluegrass music – will be presented on opening night. Mr. Taylor’s goal with this piece was to capture the integration of European Jews into America.

The other premiere of the season, on March 4, will be “Dante Variations,” which uses music by Gyorgy Ligeti. The theme of this piece comes from a line in Dante’s Inferno: “These are the nearly soulless whose lives concluded neither blame nor praise.” (Hmm. Hooray for the nobodies? I’m reserving judgment.)

I was amazed at the variety in the schedule. It seems that every night from March 1 to March 20 there is a different assortment of dances on stage. In order to pick a great program, all you have to do is close your eyes, whirl your finger in the air, and point to one. Mr. Taylor’s work is reliably brilliant and engaging; whatever your finger lands on is going to be good. See one night, or see them all.

ALVIN AILEY AMERICAN DANCE THEATER On March 1, the Ailey company is officially opening up its big new building: the Joan Weill Center for Dance. There will be much fanfare and many tributes – as there have been already.

But the best part about this dance building is how the general public can use it. Starting this month, the company will offer classes in a huge variety of disciplines: ballroom, hip-hop, West African, pilates, yoga, “Yogilates,” Cuban Salsa, Argentine Tango, Afro-Caribbean, Capoeira, Horton fundamentals, and ballet. Prices range from $14 to $17.

The classes won’t be taught by the dancers. But there will be some former dancers heading the classes. And choreographer Rennie Harris will be teaching a hip-hop workshop later this spring. Cyndi Lee, owner of OM Yoga, will be teaching, as will Jonathan Urla, who created “Yogilates.”

The idea behind the class offerings – officially known as “The Ailey Extension” – is based on Alvin Ailey’s belief that dance comes from the people. According to Sharon Gersten Luckman, executive director of Alvin Ailey American Dance Theater, the company has long wanted to offer classes, but it never had the space before now.

The classes are also convenient for the parents of children attending the Ailey school on Saturdays. The parents were so eager for classes that the company started up West African, yoga, and pilates earlier than originally planned. “They begged for it,” said Ms. Gersten Luckman of the parents. “I said, ‘Okay, they begged for it. Let’s see if they really go.’ And they have.'”

For class schedules or more information, call the Ailey Extension hotline: 212-405-9023.

NEW YORK CIT Y BALLET Tonight and tomorrow night, Sofiane Sylve has her debut in “The Blue Necklace,” which is Act I of Susan Stroman’s crossover work “Double Feature.” The role was originated by Maria Kowroski, who danced it last week and will do so again on Thursday.

This cast change is noteworthy because these roles are, like Broadway roles, very much based on type. Though Ms. Kowroski and Ms. Sylve are used in the same roles frequently, this one seems so much more suited to Ms. Kowroski, who can have a warm, motherly charm in addition to a siren-like sexiness. Ms. Sylve has more sharpness but is accomplished at creating characters on stage.

Can she pull it off? We shall see.

DANCE PHOTOGRAPHY EXHIBIT For the next week, a small collection of dance photographs by Nina Alovert are on view at the Furman Gallery, within the Walter Reade Theater. Born in Leningrad, Ms. Alovert has photographed both the Kirov and the Bolshoi since the 1950s. She moved to the United States permanently in 1997 and her works have been shown at Lincoln Center, City Center, and the National Arts Cub.

Among the photographs is a portrait setting of Nina Ananiashvili, as well as a 1987 photo of her in a “Fame!”-style leap – and an exuberant smile. A boyish-looking Mikhail Baryshnikov is shown in a 1971 photo with Irnia Kolpakova, now a ballet mistress at ABT. They’re in a performance of the Kirov’s “The Creation of the World.”

There are two photos of Vladimir Malakhov; in one he’s nearly nude, looking much like a cat, and in the other entirely clothed, looking much like a bird. In another performance shot, he’s supporting Julie Kent in “Swan Lake.” Her arms are heavy with sadness; his expression in pained. And in the corner of the frame is a portion of the row of swans. It’s a beautifully composed photograph – one of the best in the show – that leaves you eager to see an emotional ballet again soon.