As hundreds of festive Christmas decorations begin their annual holiday resurgence across cities, another familiar site returns alongside them: colorful posters and expansive billboards for “Shen Yun.” Advertisements that seem to dominate every wall, bus stop and shop window feature a woman effortlessly gliding in the air, vaguely sloganizing an innocuous dance performance that demonstrates Chinese culture before communism. The play promises a “once in a lifetime” experience to witness a rendition of up to 5,000 years of ancient Chinese culture. Nevertheless, the advertising leaves out one significant key detail: the cult-ran propaganda permeating the play and the behind-the-scenes abuse.
“I know that Shen Yun is a dangerous cult that attracts people through acrobatic dance. The story behind the art traps people into joining their mysterious cult. Based on my own dance experience, I can relate to the strict measures and rules they have in place. Conversations about groups like Shen Yun can help spark discussion about how most dancers are mistreated. [For example,] unfair weight requirements that weaken dancers’ mental health,” magnet sophomore Raegan Fife said.
For instance, one scene features a dark backdrop, juxtaposing the usual colorful aesthetic of “Shen Yun,” alongside the faces of communist leaders Mao Zedong and Karl Marx. In another scene, students study books with characters that translate to “Falun Gong” — which certain groups compare to a cult — that sponsors the Shen Yun company. Dancers also perform acts of kindness until men dressed in Communist symbols assault the dancers. A woman then raises a banner with the characters for truthfulness, compassion and forbearance — model behavior expected from Falun Gong’s followers.
The Chinese government branded Falun Gong as a “heretical cult.” The organization, now in global demand, continues to support a highly anti-communist agenda. Li Hongzhi, the leader of Falun Gong, vows that spiritual enlightenment shields his followers from illness and rejects modern medicine and science. His doctrine also condemns homosexuality, feminism and interracial relationships to preserve moral purity. After a government crackdown in 1999, Li fled to the U.S. to avoid persecution and to operate Falun Gong’s activities from abroad.
“I recognize the dynamics described, because dance is all about discipline and control. If you don’t do something right, you will be called out and have immense pressure put on you, not to mention the strength it takes to be a solo dancer. Conversations [about organizations] like Shen Yun help spark larger discussions about dancer welfare and reform in the industry. It shows the recognition of the hard work dancers need because dancers go through immense stress and pressure from dance instructors and from themselves and the body dysmorphia a lot of dancers get and the expectations they have to live up to,” magnet sophomore Kylie Floyd said.
Falun Gong owns a covert temple in Warnick, New York, that includes the Fei Tian Academy for the Arts to train and house young performers. The company recruits the dancers abroad under the guise of offering $50,000 worth of scholarships. When on tour, “Shen Yun” refrains from paying first-year dancers, pays well below minimum wage for veteran performers and withholds pay for their mandatory overtime. The company also lacks the appropriate Department of Labor permits to work with its numerous underage performers. Furthermore, teachers use physical and psychological harm to punish those who threaten to quit.
Although “Shen Yun” promotes itself as a breathtaking revival and reflection of ancient Chinese culture, the flowing silks and graceful choreography hide a darker reality. Manipulation, exploitation and propaganda fuel the success of what audiences view as a sincere celebration of tradition. As “Shen Yun” continues to tour globally and conversations surrounding the play’s origins die down, discussions of toxic industries and workplaces become increasingly relevant. Art functions as cultural expression communicating a society’s traditions, values and as a lens — yet “Shen Yun” reflects a distorted focus from production companies.
