The system of public support for activities in the field of contemporary dance, together with the non-existence of a permanent project stage for contemporary dance (or the non-existence of an institution promoting the social requirements of the above-mentioned dance community through political instruments) constitutes the cause of the large exodus of Slovak dancers. This process began in the second half of the 1990s and continues today. As a result, Slovak contemporary dance exists equally (if not to a larger extent) abroad. The majority of authors operate based on project work, since establishing a company with all its strengths and weaknesses would be quite risky. Acquiring support for individual projects is limited and at the same time promoted by not fully functioning multi-level financing. The grants of the Ministry of Culture of the Slovak Republic are managed by budget rules that are connected with the impossibility of multiple-year financing. A lot is expected from The Fund for Art, which was established by the Ministry of Culture of the Slovak Republic in 2015 and should grant the first subsidies in 2016.

The grants of the self-governing regions are limited in size (the Bratislava Regional Government only introduced an open grant system in 2015). International projects can be financed with the help of the International Visegrad Fund, the Central European Foundation, EU programmes for the support of culture and Norway grants (financial mechanism of the European Economic Area). However, they are predominantly geared to the support of large productions or projects of supranational significance. The Soros Centre for Contemporary Art (SCCA) played a significant role in the financing of dance projects in the 1990s. Choreographers still more and more use the possibility of international co-production and creative residential stays. However, compared to other EU countries, the participation of foreign production houses on original Slovak creations in various forms is rather low.