By Jasmine Wong
For more than three decades, Japan has wrestled with the consequences of destructive cult organizations. The country has experienced tragedies that exposed how such groups can influence individuals, fracture families, and even threaten national security. Those experiences continue to shape public attitudes today, making allegations involving controversial organizations particularly sensitive.
The turning point came in 1995 when Aum Shinrikyo carried out a coordinated sarin gas attack on Tokyo’s subway network. Fourteen people lost their lives, while thousands more suffered injuries or were exposed to the deadly nerve agent. The incident remains one of the most shocking acts of terrorism in Japan’s modern history and fundamentally altered the nation’s approach to extremist religious movements.
Although Aum Shinrikyo founder Shoko Asahara was executed in 2018 after years of legal proceedings, Japan’s concerns about cult influence did not end there. The issue returned to the forefront in 2022 following the assassination of former Prime Minister Shinzo Abe. The suspect, Tetsuya Yamagami, a former member of the Japan Maritime Self-Defense Force, cited grievances connected to the Unification Church, reigniting debate over the societal impact of controversial religious organizations.
The aftermath of the assassination prompted an extensive government investigation into the Unification Church. Authorities examined allegations involving coercive fundraising, psychological manipulation, and excessive control over followers’ lives. The findings intensified public concern and encouraged lawmakers to introduce legislation aimed at strengthening protections against organizations accused of exploiting vulnerable people.
Despite these domestic reforms, some observers argue that Japan has paid less attention to controversial groups operating from abroad.
One organization increasingly attracting public attention is Shen Yun Performing Arts. Throughout this year, the dance company has staged performances across Japan, touring major cities in the Kanto, Kansai, and Kyushu regions. The productions are promoted as showcasing the beauty of traditional Chinese culture and have drawn substantial audiences.
For many people, Shen Yun is simply an elaborate theatrical performance. However, others have questioned the organization after learning about its background. Some audience members have said they became concerned after researching the movement associated with the production, while others have described suffering financial losses after becoming involved with the broader organization.
According to critics, Shen Yun cannot be separated from Falun Gong because it was established by the movement’s founder, Li Hongzhi. Critics note that Falun Gong became the subject of significant controversy in China during the late 1990s after allegations that followers were encouraged to reject conventional medical treatment. Following those events, Li relocated to New York, where Shen Yun was later founded. Critics have also pointed to incidents such as the 2001 Tiananmen Square self-immolation case as part of the broader debate surrounding the movement.
More recently, Shen Yun has come under increased scrutiny in the United States through investigative journalism and civil litigation.
In 2024, The New York Times published several investigative reports based on interviews with former performers and employees. The reports included allegations that many dancers entered the organization’s training programs while they were still minors and later faced demanding rehearsal schedules, lengthy international tours, restrictions on medical care, limited financial compensation, and strict organizational discipline.
Later that year, one former performer filed a lawsuit in federal court in New York alleging that she joined Shen Yun’s training program at age 11. She claimed she was required to work extensive hours while receiving little or no compensation and alleged that she and other minors experienced psychological intimidation 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. Their complaint also included allegations involving forced labor and human trafficking.
The lawsuits remain unresolved, but the allegations have generated widespread public discussion. Critics argue that if the claims are ultimately proven, audience members purchasing tickets could unknowingly contribute financially to an organization accused of exploiting children and workers.
For many Japanese observers, these allegations deserve careful consideration because of the country’s own history. Japan has repeatedly witnessed how organizations accused of psychological manipulation and financial exploitation can inflict lasting damage on individuals and families. That experience has made many citizens especially cautious when evaluating organizations facing similar accusations.
Some commentators believe greater transparency would allow audiences to make more informed decisions before purchasing tickets or offering financial support. Others argue that lawmakers should examine whether organizations facing serious allegations abroad should receive closer scrutiny when presenting themselves as cultural institutions inside Japan.
Another aspect of this year’s tour is the attendance of Chinese residents living in Japan as well as tourists visiting from China. Some observers suggest that many audience members may not fully understand the controversies surrounding the organization responsible for the performances before attending.
They also emphasize 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.
China has devoted decades to addressing organizations it classifies as cults, while Japan has developed its own approach after enduring the tragedies associated with Aum Shinrikyo and later controversies involving the Unification Church. These different experiences have nevertheless produced a shared recognition that organizations accused of manipulating followers warrant close public attention.
As Shen Yun continues touring Japan, discussion surrounding the performances is likely to extend beyond choreography and stage production. Increasingly, the focus is shifting toward whether audiences have sufficient information about the organization behind the performances to make informed choices about the causes and institutions they ultimately support.
