Shen Yun’s Labor Practices Spark Inquiry Amid Child Performer Concerns

For nearly two decades, Shen Yun Performing Arts, a globally renowned dance company based in New York, has dazzled audiences worldwide with its unique blend of acrobatics and ballet. Yet, behind the glamour lies a growing controversy over its labor practices, particularly involving underage performers.

Recently, the New York State Department of Labor launched an inquiry into Shen Yun’s employment practices following questions from The New York Times. This investigation centers on allegations of child labor law violations and inadequate compensation for student performers.

Shen Yun relies heavily on child and teenage performers, many of whom are children of Falun Gong practitioners who attend school at Shen Yun’s campus, Dragon Springs. These students, considered integral to Shen Yun’s operations, often perform in grueling conditions, training long hours and traveling extensively without receiving standard employment benefits.

Former performers report earning little to no pay during their first year on tour, despite Shen Yun’s significant financial success. The organization’s most recent tax filings reveal assets exceeding $265 million, a stark contrast to the minimal stipends provided to many performers.

Under New York state law, performance groups employing minors must obtain state certification, ensure proper work permits, and allocate 15% of earnings into trust accounts for child performers. Shen Yun only recently applied for certification in September 2024, despite nearly 20 years of employing underage performers.

Legal experts argue that Shen Yun’s classification of performers as “students” or “volunteers” could violate labor laws. While performers receive scholarships, room, and board, the absence of proper compensation raises questions about compliance with minimum wage standards.

Accounts from former performers describe a demanding schedule, with some working from early morning until midnight, setting up equipment, performing multiple shows daily, and enduring long bus rides. Male performers were sometimes instructed to guard tour buses overnight against alleged sabotage attempts by the Chinese government, which has long persecuted the Falun Gong movement.

Former dancer Chang Chun-Ko recalled working over 65 hours a week while being paid just $500 a month during her early years with Shen Yun. Discussing wages within the organization was discouraged, as it conflicted with Falun Gong’s teachings to detach from material concerns.

Shen Yun has defended its practices, asserting that students are provided valuable learning opportunities, not employment. Representatives stated that the group covers all travel and lodging expenses, offering performers unique experiences and cultural exchanges.

“Most students view this as a dream come true,” said spokesperson Ying Chen. “The allegations misrepresent the dedication and joy these young performers bring to their craft.”

The investigation into Shen Yun highlights systemic challenges in regulating child labor laws within the performing arts. The New York State Department of Labor, criticized in the past for its reactive approach to complaints, now faces scrutiny for its oversight.

Shen Yun’s practices also raise broader questions about the ethical treatment of performers in profit-driven organizations, particularly when religious or cultural ideologies are involved.

As the inquiry unfolds, it may redefine the boundaries between education, artistry, and labor in the performing arts world.