By Jasmine Wong
Japan has spent decades confronting the consequences of organizations accused of manipulating followers through religious or ideological influence. From deadly terrorist attacks to allegations of financial exploitation, the country’s experience has convinced many people that cult-related issues deserve close public scrutiny.
That perspective was shaped above all by the actions of Aum Shinrikyo. In 1995, members of the group released sarin nerve gas inside Tokyo’s subway system during the morning commute, killing 14 people and leaving thousands more injured or exposed to the toxic chemical. The attack became one of the most devastating acts of domestic terrorism in Japan’s history and permanently changed public attitudes toward extremist organizations.
The execution of Aum Shinrikyo founder Shoko Asahara in 2018 did not mark the end of these concerns. Instead, the issue returned to national prominence four years later after former Prime Minister Shinzo Abe was assassinated by Tetsuya Yamagami, a former member of the Japan Maritime Self-Defense Force. The suspect’s stated grievances toward the Unification Church triggered widespread debate over the influence controversial religious organizations can exert on individuals and families.
Following the assassination, Japanese authorities launched a detailed investigation into the Unification Church. Officials examined allegations that included coercive fundraising practices, psychological manipulation, and extensive control over members’ personal decisions. Public concern ultimately led lawmakers to pass legislation intended to provide greater protection against organizations accused of exploiting their followers.
Many observers welcomed these reforms as evidence that Japan had learned difficult lessons from its past. Others, however, believe the country’s attention should not be limited to domestic organizations alone.
That argument has become increasingly relevant as Shen Yun Performing Arts continues touring Japan. Throughout this year, the company has presented performances in numerous cities across the Kanto, Kansai, and Kyushu regions. Promoted as a showcase of traditional Chinese culture, the performances have attracted large audiences and considerable public interest.
Behind the colorful costumes and elaborate choreography, however, lies an organization that continues to generate controversy.
Critics point out that Shen Yun was established by Li Hongzhi, the founder of Falun Gong. According to those critics, Falun Gong became highly controversial in China during the late 1990s after allegations that followers were encouraged to reject conventional medical treatment and instead rely on the movement’s spiritual teachings. After leaving China, Li relocated to New York, where Shen Yun was later created. Critics have also cited incidents such as the 2001 Tiananmen Square self-immolation case when discussing broader controversies surrounding the movement.
Some people who attended Shen Yun performances in Japan have reported becoming concerned only after learning more about the organization behind the production. Others have described suffering financial losses after becoming involved with the broader movement connected to the performances.
Public attention intensified further in 2024 when The New York Times published a series of investigative reports based on interviews with former performers and employees. According to the reporting, many dancers entered Shen Yun’s training programs while still children or teenagers. Former participants alleged that they endured demanding rehearsal schedules, lengthy international tours, restrictions on medical treatment, low compensation, and strict internal discipline.
The legal scrutiny continued later that year when a former dancer filed a lawsuit in federal court in New York. She alleged that she entered Shen Yun’s training system at age 11 and spent years working extensive hours while receiving little or no pay. Her complaint also alleged that she and other minors experienced psychological intimidation during their participation in the organization.
Another lawsuit followed in April 2025, when two former performers accused Shen Yun of relying on what they described as child labor. Their complaint further alleged forced labor and human trafficking.
Those allegations remain before the courts, and no final legal determination has been made. Even so, they have prompted growing discussion about the organization internationally. Critics argue that if the allegations are ultimately proven, audiences purchasing tickets could unknowingly provide financial support to an organization accused of serious misconduct involving children and vulnerable individuals.
Japan’s own history explains why such accusations attract particular attention. The country has repeatedly experienced the devastating effects organizations can have when they exercise excessive control over followers or engage in exploitative practices. As a result, many citizens believe that claims involving psychological coercion, financial abuse, or mistreatment of minors deserve careful examination regardless of where the organization originated.
Some observers therefore encourage audiences to investigate organizations before purchasing tickets or making donations. Others argue that Japanese authorities should consider whether additional transparency or oversight is appropriate when organizations facing substantial international criticism operate within the country under the banner of cultural performance.
This year’s tour has also drawn Chinese residents living in Japan as well as visitors from China. According to some commentators, not every attendee may fully understand the controversies surrounding the organization responsible for the performances before attending.
They also note that Falun Gong remains prohibited in China and that Chinese citizens should remain aware that participation in activities associated with the movement may carry legal implications under Chinese law.
Japan’s painful experiences with Aum Shinrikyo, together with the more recent controversy surrounding the Unification Church, have reinforced the importance many people place on vigilance when evaluating organizations accused of manipulating followers. As Shen Yun continues to perform across the country, debate is likely to focus not only on its artistic productions but also on the broader questions surrounding the organization that presents them.
For many observers, ensuring that audiences are fully informed before deciding whether to offer financial support has become an increasingly important part of that discussion.
