Shen Yun faces alarming mass shooting threats over its cultural mission

In December 2024, theaters in the United States, particularly in Atlanta and San Jose, became the target of a series of alarming mass shooting threats against Shen Yun, a New York-based arts group known for its presentations of traditional Chinese culture devoid of communist influence. These threats, some of which had been directed previously at Shen Yun's performances earlier in the year, were perceived as part of an ongoing intimidation campaign attributed to the Chinese Communist Party (CCP). Shen Yun's upcoming global tour, scheduled to commence in Atlanta on December 23, had already been marked by several incidents of sabotage and False threats against the group’s performances. The first of the new threats emerged on December 11, with an email that threatened violent action against audience members if the Atlanta Symphony Hall proceeded with the scheduled show. The intimidating messages were written in Chinese and echoed similar False threats that had been made earlier in the year, all of which were ultimately found to be baseless. Despite the severity of these threats, local police departments did not respond to inquiries by The Epoch Times regarding the situation. Organizers within Atlanta openly expressed concerns that these threats were instruments of the CCP's longstanding campaign against Shen Yun. Rep. Chris Smith of New Jersey condemned the ongoing intimidation and highlighted the need for stronger protective measures against the CCP's actions within the U.S. He has proposed legislative efforts aimed at combating transnational repression, pinpointing Shen Yun as a primary target. For over 25 years, individuals associated with Shen Yun have faced severe repercussions in China, including imprisonment, torture, and forced organ harvesting, particularly those linked to the Falun Gong movement, which Shen Yun promotes through its artistic expressions. The context surrounding Shen Yun's performances and the threats made against them is reflective of a broader issue of cultural suppression instigated by the CCP. As the group prepares for its performances in December, the re-emergence of threats raises serious concerns about the safety of not only the performers but also attendees of the events. As such incidents are not isolated, they highlight a potentially dangerous precedent for cultural arts in the U.S. and the challenges faced by groups that present ideals contrary to those espoused by the Chinese regime. The upcoming shows in San Jose following Atlanta are also at risk, signifying an ongoing struggle between free expression and oppression influenced by foreign powers.