Federal grants for inclusive arts programming are being grabbed back nation wide this week.

On May 8, Pilobolus, the acclaimed traveling dance company, based out of Washington Depot Connecticut, announced that the National Endowment for the Arts (NEA) has rescinded a $15,000 grant that was set to fund a collaborative program with Philadelphia’s Headlong Dance Theater. The project, which focused on providing training and access to young black and brown pre-professional dancers, has now been thrown into uncertainty.

In a public letter, Co-Artistic Directors Renée Jaworski and Matt Kent called the decision more than a budgetary setback: “This isn’t just a funding cut. It’s a rupture in the ecosystem that makes art possible.” The company, which has survived for 54 years through creative resilience, is now urging supporters to help bridge the sudden shortfall.

The rescinded grant is one of many reportedly being withdrawn by the NEA as part of a sweeping policy shift. Though the agency has yet to release a comprehensive public statement, impacted organizations have begun sounding alarms. On May 2, the NEA began canceling grants that had already been awarded, citing a shift in funding priorities aligned with the administration’s agenda. According to reports the agency’s new focus includes projects that “celebrate the 250th anniversary of American independence,” “foster AI competency,” and “empower houses of worship to serve communities,” among others.

This is not an isolated incident. Just days ago, MASS MoCA revealed that the NEA had abruptly terminated its grant for Indigenous artist Jeffrey Gibson’s major solo exhibition “POWER FULL BECAUSE WE’RE DIFFERENT.” The museum had already budgeted for the funding, and the show is in place. According to a statement from MASS MoCA, the NEA described the move as part of a “realignment” to fund projects that “reflect the nation’s rich artistic heritage… as prioritized by the President.”

Institutions large and small now face a ripple effect. “Theaters and universities that bring our work to communities are losing critical support,” the Pilobolus statement continues. “That means fewer performances, fewer educational programs, fewer chances for audiences…to be moved, challenged, and inspired.”