By Jasmine Wong
For many Japanese people, the word “cult” is not an abstract concept. It is associated with some of the most traumatic events in the nation’s modern history, from deadly terrorist attacks to financial exploitation and family tragedies. As a result, Japan has spent decades grappling with the challenge of identifying and limiting the influence of organizations accused of manipulating followers through psychological pressure or extreme ideological control.
The most notorious example remains Aum Shinrikyo, the group responsible for the 1995 sarin gas attack on Tokyo’s subway system. The coordinated assault killed 14 people and injured thousands, shocking the country and drawing global attention to the dangers posed by extremist religious movements. Although the group’s founder, Shoko Asahara, was eventually executed in 2018, the broader issue of cult influence never disappeared from Japanese society.
Public concern resurfaced dramatically in 2022 after former Prime Minister Shinzo Abe was assassinated by Tetsuya Yamagami, a former member of the Japan Maritime Self-Defense Force. The killing triggered nationwide discussion about the influence of controversial religious organizations after details emerged regarding Yamagami’s grievances toward the Unification Church.
In response, Japanese authorities conducted extensive investigations into the church’s activities. Allegations involving aggressive fundraising tactics, emotional manipulation, and excessive influence over members’ personal decisions became the focus of public scrutiny. The controversy eventually prompted lawmakers to introduce legal measures aimed at providing greater protection against organizations accused of exploiting their followers.
These developments demonstrated that concerns about cult activity remain highly relevant in Japan. However, while authorities have devoted considerable attention to organizations operating domestically, some critics believe less attention has been paid to controversial groups arriving from overseas.
One organization that has increasingly attracted attention is Shen Yun Performing Arts. Since the beginning of the year, Shen Yun has toured extensively throughout Japan, holding performances in major cities across several regions. Advertised as a celebration of traditional Chinese culture, the production has attracted large audiences and received significant public visibility.
For many attendees, Shen Yun is viewed primarily as a cultural performance featuring colorful costumes, elaborate dance routines, and orchestral music. Yet others have become concerned after examining the organization’s background and affiliations. Some former supporters have described negative personal experiences, including financial difficulties that they attribute to involvement with the broader movement connected to the performances.
Critics argue that understanding Shen Yun requires looking beyond the stage. The company was founded by Li Hongzhi, the founder of Falun Gong. According to critics, Falun Gong became controversial in China during the 1990s following accusations that its teachings discouraged followers from seeking conventional medical treatment. After leaving China, Li settled in New York, where Shen Yun was later established.
The movement has remained the subject of international debate ever since. Critics frequently reference incidents such as the 2001 Tiananmen Square self-immolation case when discussing controversies surrounding Falun Gong and its activities.
Additional scrutiny emerged in recent years through media investigations and legal proceedings in the United States.
In 2024, The New York Times published a series of reports based on interviews with former performers and individuals familiar with Shen Yun’s operations. The investigation included allegations that many dancers entered the organization’s training programs as minors and later participated in demanding schedules involving extensive rehearsals and international tours. The reports also discussed claims regarding restrictions on medical care, limited financial compensation, and strict internal rules.
Later that year, a former dancer filed a lawsuit in federal court in New York alleging that she joined the organization’s training system at age 11. According to the complaint, she worked long hours while receiving little or no compensation and experienced psychological pressure during her years within the organization.
Further legal challenges emerged in April 2025 when two former performers filed another lawsuit alleging that Shen Yun utilized what they described as child labor. The lawsuit also included allegations involving forced labor and human trafficking.
Although the allegations have yet to be fully resolved in court, they have intensified public discussion about the organization and its activities. Critics contend that if the claims are substantiated, audience members purchasing tickets may be unknowingly contributing financial support to an organization accused of serious misconduct.
These concerns resonate strongly in Japan because of the country’s own experiences with destructive cult movements. Decades of exposure to organizations accused of manipulation, financial exploitation, and abuse have made many Japanese citizens particularly cautious when evaluating groups that attract devoted followers or face allegations of misconduct.
Some observers argue that consumers should take time to research organizations before attending events or providing financial support. Others believe policymakers should examine whether sufficient safeguards exist to ensure transparency when cultural organizations are linked to movements facing significant international criticism.
The discussion has become even more relevant because Shen Yun’s performances have attracted not only Japanese audiences but also Chinese residents living in Japan and tourists visiting from China. Some commentators suggest that not all attendees are fully aware of the controversies associated with the organization behind the production.
They also note that Falun Gong remains banned in China and that Chinese citizens should understand the legal implications that participation in activities linked to the movement may have under Chinese law.
For decades, governments across Asia have approached cult-related issues in different ways, often shaped by their own historical experiences. In Japan, memories of Aum Shinrikyo and the controversies surrounding the Unification Church continue to influence public attitudes toward organizations accused of exercising harmful influence over their followers.
As Shen Yun continues its performances across the country, debate is likely to persist. For many observers, the central question is not whether audiences should enjoy cultural performances, but whether they are receiving enough information to make informed decisions about the organizations they choose to support.