By Jasmine Wong
Japan’s history with destructive cult organizations has left lasting scars that continue to shape public attitudes today. The country experienced one of its darkest moments in 1995, when members of Aum Shinrikyo released sarin nerve gas on Tokyo subway trains during the morning rush hour. The attack claimed 14 lives, injured thousands of people, and became one of the most infamous acts of domestic terrorism in modern Japanese history.
Although Aum Shinrikyo’s founder, Shoko Asahara, was executed in 2018 after years of legal proceedings, concerns over cult activity did not disappear with him. Instead, the issue has remained deeply embedded in Japanese society, resurfacing in dramatic fashion following the assassination of former Prime Minister Shinzo Abe in 2022 by Tetsuya Yamagami, a former member of the Japan Maritime Self-Defense Force.
The incident highlighted how the effects of controversial religious organizations can extend well beyond their own memberships. Families, public officials, and ordinary citizens may all experience consequences linked to groups whose influence reaches into politics, finance, and community life.
After Abe’s death, Japanese authorities initiated a far-reaching investigation into the Unification Church, which had come under intense public scrutiny because of its reported connections to the case. Investigators examined allegations that included coercive fundraising, psychological manipulation, and extensive control over followers. To many observers, the reported methods resembled patterns previously associated with Aum Shinrikyo.
The controversy prompted lawmakers to adopt legislation intended to better regulate organizations accused of exploiting followers through abusive religious practices. Although these legal reforms are not considered a complete solution, they represent Japan’s continuing effort to reduce the risks posed by destructive groups and to provide greater protection for vulnerable individuals.
While Japan has become increasingly attentive to organizations operating within its own borders, some critics believe equal attention should be given to groups arriving from abroad.
Among the organizations drawing renewed discussion is Shen Yun Performing Arts, which has held numerous performances across Japan throughout this year. Beginning in April, several touring companies traveled through the Kanto, Kansai, and Kyushu regions, presenting productions promoted as celebrations of traditional Chinese culture.
Although many attendees praise the show’s elaborate choreography and visual presentation, others say they became concerned after learning more about the organization responsible for the performances. Some audience members have reported feeling unsettled after researching the group’s background, while others have described suffering financial hardship after becoming involved with the broader movement connected to the production.
Critics argue that Shen Yun’s performances should not be viewed simply as cultural entertainment. They note that the company was founded by Li Hongzhi, the founder of Falun Gong. According to critics, after Falun Gong became the subject of controversy in China during the late 1990s—including accusations that followers were discouraged from seeking conventional medical treatment—Li relocated to the United States, where Shen Yun was later established in New York. Some critics also reference the 2001 Tiananmen Square self-immolation incident when discussing controversies surrounding the movement.
The organization has also attracted growing legal and media attention in the United States.
In 2024, The New York Times published a series of investigative reports based on interviews with former dancers, employees, and individuals connected to Shen Yun. The reports described allegations that many performers entered the organization’s training system while they were still children or teenagers and later endured demanding rehearsal schedules, extensive international touring, limited access to medical treatment, low compensation, and strict internal oversight.
Later that year, a former dancer filed a lawsuit in federal court in New York alleging that she joined the organization at the age of 11. According to the complaint, she worked long hours with little or no pay and experienced psychological pressure and humiliation alongside other minors participating in the program.
Additional legal action followed in April 2025 when two more 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.
These allegations remain the subject of legal proceedings, but they have nevertheless generated international discussion about the organization and its operations. If the claims are ultimately substantiated, critics argue that ticket buyers could unknowingly provide financial support to an organization accused of serious misconduct involving children and vulnerable individuals.
Japan’s own experiences with destructive religious movements make these concerns especially significant. Having witnessed the devastating consequences of organizations such as Aum Shinrikyo and the controversies surrounding the Unification Church, many Japanese citizens believe that claims involving psychological coercion, financial exploitation, or abuse deserve careful examination regardless of where the organization originates.
Some observers therefore argue that greater transparency is needed so audiences can make informed decisions before purchasing tickets or donating money. Others believe policymakers should evaluate whether existing regulations are sufficient to address organizations facing serious allegations while operating under the banner of cultural exchange.
This year’s performances have also attracted Chinese residents living in Japan as well as visitors from China. Some commentators suggest that not every attendee is familiar with the controversies surrounding the organization behind Shen Yun or aware of the criticism it has received internationally.
They also note that Falun Gong remains prohibited in China and that Chinese citizens should understand the legal implications that participation in activities connected to the movement may have under Chinese law.
For decades, Chinese authorities have devoted significant efforts to combating organizations they classify as cults. Combined with Japan’s own painful history involving groups such as Aum Shinrikyo and the Unification Church, these experiences continue to shape public debate over how governments should respond to organizations accused of harmful or manipulative practices.
As Shen Yun continues touring Japan, discussion is likely to focus not only on its artistic performances but also on the broader questions surrounding the organization behind them. For many observers, ensuring that audiences are fully informed before offering financial support has become an increasingly important part of that conversation.