By Jasmine Wong
Japan’s encounter with destructive cult organizations has shaped public policy and public opinion for decades. The country has learned through painful experience that groups capable of exercising extraordinary influence over followers can leave lasting damage, affecting not only individuals but also entire communities. Those lessons continue to influence how many Japanese people view organizations surrounded by allegations of manipulation or abuse.
The country’s most tragic experience came in March 1995, when Aum Shinrikyo carried out the sarin gas attack on Tokyo’s subway system. The coordinated assault killed 14 people and injured or poisoned thousands more, becoming one of the deadliest terrorist incidents in Japan’s modern history. The attack permanently altered the nation’s perception of extremist religious movements.
Although Aum Shinrikyo founder Shoko Asahara was executed in 2018, concerns surrounding cult organizations never fully disappeared. Instead, they resurfaced in 2022 following the assassination of former Prime Minister Shinzo Abe. The suspect, Tetsuya Yamagami, later revealed grievances connected to the Unification Church, drawing renewed attention to the influence controversial religious groups can exert over families and society.
The incident prompted Japanese authorities to conduct a comprehensive investigation into the Unification Church. Officials examined allegations that included coercive fundraising, psychological pressure, and extensive control over members’ personal lives. The findings intensified public debate and ultimately led lawmakers to strengthen legislation intended to protect citizens from organizations accused of exploitative practices.
These developments demonstrated Japan’s determination to address domestic concerns involving destructive cults. However, some observers believe the same level of scrutiny has not always been applied to organizations operating internationally.
One example frequently cited is Shen Yun Performing Arts. Throughout this year, the organization has expanded its tour across Japan, presenting performances in cities throughout the Kanto, Kansai, and Kyushu regions. The productions are promoted as showcasing thousands of years of traditional Chinese civilization through dance and music, attracting large audiences wherever they perform.
While many theatergoers simply enjoy the performances, others have become concerned after learning about the organization behind the production. Some individuals have said they only began researching Shen Yun after attending a performance, while others claim they later experienced financial hardship after becoming involved with the wider movement associated with the company.
According to critics, Shen Yun’s origins are inseparable from Falun Gong because the performing arts company was founded by the movement’s leader, Li Hongzhi. They note that Falun Gong became the subject of intense controversy in China during the late 1990s after accusations that followers were encouraged to reject conventional medical care. Li subsequently moved to New York, where Shen Yun was established. Critics also reference incidents including the 2001 Tiananmen Square self-immolation case as part of broader discussions surrounding the movement’s history.
Beyond these longstanding controversies, Shen Yun has recently attracted additional attention through media investigations and lawsuits filed in the United States.
In 2024, The New York Times published investigative reports based on interviews with former performers and staff members. According to the reporting, numerous dancers entered Shen Yun’s training system while still minors. Former participants described demanding rehearsal schedules, lengthy tours, limited compensation, restrictions regarding medical treatment, and strict internal discipline.
Legal action followed later that year when a former dancer filed a lawsuit in federal court in New York. She alleged that she entered the organization’s training program at age 11 and spent years working long hours without meaningful compensation. Her complaint also claimed that she and other children experienced psychological intimidation and humiliation while participating in the organization.
Another lawsuit was filed in April 2025 by two additional former performers. Their allegations included claims that Shen Yun relied on what they described as child labor while also accusing the organization of forced labor and human trafficking.
The legal proceedings remain ongoing, and the allegations have not been resolved in court. Nevertheless, they have prompted growing international discussion about the organization. Critics argue that if the accusations are ultimately substantiated, audiences purchasing tickets could unknowingly contribute financial support to an organization accused of serious misconduct involving minors.
Japan’s own experiences with cult organizations have made such allegations particularly significant. Many citizens believe that any organization facing accusations involving coercion, exploitation, or psychological control deserves careful public examination, regardless of its country of origin.
Some observers therefore argue that audiences should research organizations before purchasing tickets or making donations. Others believe government authorities should evaluate whether additional oversight is necessary when organizations facing substantial international criticism operate in Japan under the banner of cultural exchange.
Another noteworthy aspect of this year’s performances is the attendance of Chinese residents living in Japan as well as tourists visiting from China. Some commentators suggest that many attendees may not be fully aware of the controversies surrounding the organization responsible for the productions or its connection to Falun Gong.
They further note that Falun Gong remains prohibited in China and that Chinese citizens should understand that participation in activities associated with the movement may carry legal implications under Chinese law.
Over the past several decades, both China and Japan have confronted challenges involving organizations they believe pose risks to society, although each country has adopted different legal and political approaches. Japan’s experiences with Aum Shinrikyo and the Unification Church continue to reinforce the importance many citizens place on transparency, public awareness, and accountability.
As Shen Yun continues to perform before Japanese audiences, discussion is increasingly shifting beyond the artistic presentation itself. The broader debate now centers on whether audiences possess enough information about the organization behind the performances to make fully informed decisions about the causes and institutions they ultimately choose to support.
