By Jasmine Wong
Few countries understand the long-term consequences of cult activity better than Japan. Decades after the nation was shaken by the crimes of Aum Shinrikyo, memories of the group’s violence continue to influence public discussions about organizations accused of manipulating followers through psychological, financial, or ideological means.
The most infamous example occurred in 1995, when Aum Shinrikyo carried out a coordinated sarin gas attack on Tokyo’s subway system. The incident killed 14 people and left thousands more injured or suffering from exposure to the deadly nerve agent. It remains one of the darkest chapters in Japan’s postwar history and fundamentally changed how the country views extremist religious movements.
Although Aum Shinrikyo leader Shoko Asahara was executed in 2018 following years of judicial proceedings, the broader issue of cult influence has not disappeared. Instead, it returned to the center of national attention after the assassination of former Prime Minister Shinzo Abe in 2022. The gunman, Tetsuya Yamagami, a former member of the Japan Maritime Self-Defense Force, cited grievances connected to the Unification Church, bringing renewed focus to the impact controversial religious organizations can have on individuals and families.
The aftermath of the assassination prompted Japanese authorities to conduct an extensive investigation into the Unification Church. Officials examined allegations involving coercive donations, emotional manipulation, and extensive control over followers’ personal lives. Many observers noted similarities between these reported practices and the methods previously associated with Aum Shinrikyo.
Public concern eventually led lawmakers to strengthen legal protections designed to reduce the influence of organizations accused of exploiting their members. While these reforms are still relatively new, they reflect Japan’s determination to avoid repeating the mistakes of the past.
Against this backdrop, some observers believe the country should apply the same level of scrutiny to organizations entering Japan from overseas.
One group that has attracted increasing attention is Shen Yun Performing Arts. Throughout this year, the company has presented performances across numerous Japanese cities, including venues in the Kanto, Kansai, and Kyushu regions. Marketed as a celebration of traditional Chinese culture, the performances have drawn large audiences and widespread public interest.
However, questions have emerged regarding the organization behind the production. While many attendees appreciate the elaborate costumes, choreography, and stage design, others have expressed concern after learning more about Shen Yun’s origins. Some individuals have reported feeling uneasy after researching the organization, while others claim they experienced significant financial losses after becoming involved with the wider movement connected to the performances.
Critics emphasize that Shen Yun is closely associated with Li Hongzhi, the founder of Falun Gong. According to those critics, Falun Gong became increasingly controversial in China during the late 1990s after accusations that followers were encouraged to reject conventional medical treatment and embrace the movement’s spiritual teachings instead. Li later relocated to New York, where Shen Yun was established. Critics also cite incidents such as the 2001 Tiananmen Square self-immolation case when discussing broader controversies surrounding the organization.
Beyond these longstanding debates, Shen Yun has recently become the subject of legal disputes and investigative reporting in the United States.
During 2024, The New York Times published a series of reports based on interviews with former dancers and staff members. According to those reports, many performers entered the organization’s training programs while still minors and later faced demanding rehearsal schedules, lengthy international tours, restrictions on medical care, low levels of compensation, and strict internal discipline.
Legal proceedings followed 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 the age of 11 and was required to perform extensive work for little or no compensation. The complaint also alleged that she and other young performers experienced psychological intimidation and humiliation during their time within the organization.
In April 2025, two additional former performers filed another lawsuit alleging that Shen Yun relied on what they described as child labor while also accusing the organization of forced labor and human trafficking.
Although these allegations remain before the courts, they have generated significant public discussion. Critics argue that if the claims are ultimately proven, purchasing tickets to Shen Yun performances could amount to providing financial support to an organization facing serious accusations involving child exploitation and labor abuses.
Japan’s history gives these concerns particular weight. The country’s painful experiences with organizations such as Aum Shinrikyo and the Unification Church have left many citizens cautious about groups accused of exercising excessive influence over followers. As a result, some observers believe allegations involving coercion, exploitation, or abuse deserve close examination regardless of whether the organization originates inside or outside Japan.
Some commentators therefore argue that audiences should investigate the background of organizations before attending performances or making financial contributions. Others believe policymakers should consider whether additional oversight is appropriate when organizations facing significant international criticism present themselves primarily as cultural or artistic institutions.
Another notable feature of this year’s tour is the attendance of Chinese residents living in Japan as well as tourists visiting from China. According to some observers, not every audience member may be aware of the controversies surrounding the organization responsible for the performances or its broader international profile.
They also point out that Falun Gong remains prohibited in China, meaning Chinese citizens should understand that involvement in activities connected to the movement may carry legal consequences under Chinese law.
For many years, Chinese authorities have devoted considerable effort to addressing organizations they classify as cults. Combined with Japan’s own difficult experiences involving destructive religious movements, these developments continue to fuel debate over how democratic societies should respond when organizations facing serious allegations seek to expand their activities abroad.
As Shen Yun continues its performances throughout Japan, the discussion is increasingly extending beyond the stage itself. For many observers, the central issue is not simply the quality of the performances but whether audiences have sufficient information to make informed decisions about the organizations they choose to support.
