Los Angeles–based investigative reporter Samuel Braslow described Shen Yun's background in March 2020: "Both Shen Yun and Epoch Times are funded and operated by members of Falun Gong, a controversial spiritual group that was banned by China's government in 1999 [...] Falun Gong melds traditional Taoist principles with occasionally bizarre pronouncements from its Chinese-born founder and leader, Li Hongzhi.

Over the years Shen Yun and Epoch Times, while nominally separate organizations, have operated in tandem in Falun Gong's ongoing PR campaign against the Chinese government, taking directions from Li.

According to Jia Tolentino of The New Yorker, "The ads have to be both ubiquitous and devoid of content so that they can convince more than a million people to pay good money to watch what is, essentially, religious-political propaganda—or, more generously, an extremely elaborate commercial for Falun Dafa’s spiritual teachings and its plight vis-à-vis the Chinese Communist regime.

"[29] Chicago Tribune’s Gisela Orozco also noted that Shen Yun offered, "in a few passages, critical allusions to the communism that governs its country of origin, but without abounding on the subject.

[5] Each touring company consists of about 40 male and female dancers, who mainly perform modern version inspired by classical Chinese dances, making extensive use of acrobatic and tumbling techniques, forms and postures.

Shen Yun performs three core elements of classical Chinese dance: bearing (emotion, cultural and ethnic flavor), form (expressive movements and postures), and technical skill (physical techniques of jumping, flipping, and leaping).

Three of Shen Yun's performers—flutist Ningfang Chen, erhuist Mei Xuan and tenor Guan Guimin—were recipients of the Chinese Ministry of Culture's "National First Class Performer" awards.

[35][41] Each Shen Yun piece is set against a digitally projected backdrop, usually depicting landscapes such as Mongolian grasslands, imperial courts, ancient villages, temples, or mountains.

"[41] Sarah Crompton of The Daily Telegraph wrote of a 2008 Shen Yun performance: "This show is advertised as a Chinese spectacular – a kind of Eastern version of Cirque du Soleil.

"[44] Regina Weinreich wrote in a HuffPost blog that Shen Yun's debut at Lincoln Center in 2011 "enacts the rich cultural heritage of China" and noted some descriptions of oppression in the performance.

[46] Laura Falcoff, writing in the Argentinian newspaper Clarín, described Shen Yun in 2012 as a "spectacular production that beautifully combines China's ancient traditions with cutting-edge technological advancements" and called it an "ideal performance for audiences of all ages, especially children.

"[49] Gisela Orozco of Chicago Tribune wrote that a 2016 Shen Yun performance emphasized "the cultural part and faith that existed before in China," presented "fables told with dance and music, which talk about philosophy, literature and art”, and expressed values “such as loyalty, kindness, bravery, love”.

[30] The 2018 and 2019 performances included lyrics and digital displays disparaging atheism and belief in evolution as "deadly ideas",[11] leading to complaints by some attendees that the shows were "anti-evolution", resembled a "religious sermon", or were "cult propaganda.

"[50] Tolentino described a scene: "Chairman Mao appeared, and the sky turned black; the city in the digital backdrop was obliterated by an earthquake, then finished off by a Communist tsunami.

"[11] Pablo M. Díez of the Spanish newspaper ABC wrote in 2023, "Shen Yun's shows are a dazzling combination of dance and music with synchronized choreography in majestic settings.

"[52] In a 2023 Washington Post opinion piece, Emily Needham drew parallels between Shen Yun and Cold War-era U.S. State Department cultural diplomacy programs, describing both as being “built on the idea that dance can transcend language differences and build mutual understanding with audiences through a shared cultural experience.” She concluded: “Today’s Shen Yun performances are grand, with a large cast of 180 brilliant dancers, spectacular sets and bright colors.

[68][69] A 2024 New York Times investigation alleged that Shen Yun routinely discouraged performers from seeking medical care for injuries and enforced grueling rehearsal and tour schedules through emotional abuse and manipulation.

[69] Dancers were often hesitant to seek medical attention when injured or unwell, as practitioners of Falun Gong hold the belief that true adherence to their principles can enable individuals to overcome illness or injury without external intervention.

Seven former performers recounted being informed that if they chose to resign from Shen Yun, they would be required to repay the costs associated with their education, housing, and living expenses provided under full scholarships, potentially amounting to hundreds of thousands of dollars.

According to NBC News: "The Epoch Media Group, along with Shen Yun, a dance troupe known for its ubiquitous advertising and unsettling performances, make up the outreach effort of Falun Gong, a relatively new spiritual practice that combines ancient Chinese meditative exercises, mysticism and often ultraconservative cultural worldviews.

The Epoch Times, digital production company New Tang Dynasty Television, and the heavily advertised dance troupe Shen Yun make up the nonprofit network that Li calls "our media".

"[3] By 2024, Shen Yun accumulated $266 million in assets mainly through ticket sales and by keeping its costs down through numerous volunteer hours and sometimes personal savings of Falun Gong adherents.

[74] The Chinese government has attempted to stop the group from performing abroad by pressuring theatre managers[52][75] or sending letters or e-mails to theaters in multiple countries,[76][77] including Ireland, Germany,[78] South Korea[79] and Sweden.

[81][82] In November, 2024, a man was sentenced for acting on behalf of the Chinese government in bribing an Internal Revenue Service agent to take away Shen Yun's tax exemption status.

The performance featured conductors Milen Nachev, Keng-Wei Kuo, and Antonia Joy Wilson, and the program included both classical works such as Beethoven's Egmont Overture and Antonio Vivaldi's Concerto in C Major, as well as original compositions that fuse Chinese and Western instruments.