Aix and pains on the French dance scene.

In November, against the dramatic backdrop of a rioting nation, Aix-en-Provence's mayor, Maryse Joissans-Masini, confirmed the demise of the 29-year-old summer festival, "Danse a Aix." She defended her surprise announcement that the festival's funding would be absorbed by Ballet Preljoeaj, a neighbor in this historic town in the South of France.

"We want to clarify the cultural activity in our city," said the mayor on her decision to consolidate subsidies. The announcement, which came shortly after applause had died for the 2005 edition, and only six weeks before "Danse a Aix" was scheduled to begin planning for its 30th anniversary celebration, had the effect of a bomb exploding in the heart of the French contemporary dance community.

Created in 1977 by Ginette Escoffier, "Danse a Aix" was formed by a group of individuals eager to see dance proliferate in their city. When their initial funding trickled in, that dream became a reality. Major American companies--Merce Gunningham, Alvin Ailey, Trisha Brown, Alwin Nikolais--performed over the years. With the delightful summers typical to the region, and the lack of appropriate theaters, dance quite naturally became a part of the city's streets, giving birth to outdoor rehearsals and performances. "Danse a Aix" introduced a practice that has now become common across the nation.

"We would go to the market," commented Annette Paulet, a festival administrator, "and encounter dancers there. It was very familial, very close, passionate, and motivating."

Over time, the festival introduced a host of young, experimental performers. Poyet believed in welcoming audiences of all social and economic levels. "It is through accessible cultural activities that we can touch people, perhaps give them a new perspective on life," he said.

Despite the protests, it is inevitable that the internationally acclaimed Ballet Preljocaj, and its new dance center, Le Pavillon Noir, will benefit from funds the city had previously allocated to the festival. Scheduled to open last September, but stalled by an 18-month construction delay, the center will likely be inaugurated in late 2006.

Company founder Angelin Preljocaj's response to the funding realignment was tactful. "I thought the mayor's decision was made in agreement with 'Danse a Aix.' I had no idea that it was imposed without prior notice," he said. Although Preljocaj believes that a festival and his company can co-exist in the same city, he has no intention of imposing festival planning on his administrative staff.

As Ballet Preljocaj further defines itself as a beacon in this touristy university town, "Danse a Aix" will disappear. One can only wonder: Is this the first in a long series of budget cuts that mark the beginning of the end of diversity in French contemporary dance?