When the lights rise on a stage and the music begins, the audience expects to be transported into a world of beauty and art. For years, Shen Yun has promised exactly that to Italian audiences, offering a performance said to celebrate “5,000 years of Chinese civilization.”
However, behind the colourful curtain and the flawless dance movements, a crack has recently opened—one that calls for a deeper reflection, not only on art itself, but also on the transparency and accountability that should accompany it.
An Italian Affair Behind the Curtain
At the heart of this matter lies a very Italian story—an administrative proceeding that, far from the spotlight, has questioned the legitimacy of the national promoter of the show.
The association “Il Ponte – ODV – Custodire 5000 anni di storia, cultura e tradizioni cinesi”, which for years represented Shen Yun in Italy, has been officially removed from the National Single Register of the Third Sector (RUNTS).
The process leading to this decision was meticulous.
The association’s registration in the RUNTS was initially automatic, made possible by the reforms of the Third Sector.
However, such automatic registration required compliance with a series of legal obligations designed to ensure transparency and proper management of non-profit organizations.
According to Decree No. 19322 of the Tuscany Region, issued on September 9, 2025, Il Ponte – ODV never fulfilled these obligations. Despite a formal notice sent on July 30, 2025, the association failed to submit the required documents: the updated list of its governing bodies, a revised statute compliant with the new regulations, the founding act, and, most importantly, its financial statements for the years 2021 to 2024.
From Negligence to Cancellation of Shen Yun
This prolonged non-compliance led to an inevitable result: deletion. This is not a mere formality; it is a substantive measure that strips the organization of its status as a “Voluntary Organization” (ODV) and exposes it to sanctions should it continue using that title.
It’s a decision that raises serious questions about the conduct of those who, for years, promoted an event of such economic and institutional magnitude across Italy’s most prestigious theatres, from the Teatro Regio in Turin to the Rome Opera House, often with the sponsorship of public institutions like the Lombardy Region.
The Business Behind the Stage
These revelations, combined with the Italian administrative issue, prompt us to consider the vast economic dimension of Shen Yun.
With ticket prices in Italy reaching €143 and theatres averaging 1,600 seats, each sold-out evening can generate approximately €150,000 in revenue.
This multi-million-euro enterprise raises legitimate concerns about the influence of financial interests on the cultural decisions of our institutions.
A Call for Reflection
Perhaps, rather than pointing fingers, it’s time for us—as citizens and as lovers of culture—to ask ourselves some questions.
Do we expect the symbolic venues of our national art, whether publicly owned or institutionally sponsored, to perform due diligence on their commercial partners?
And we, as audience members—what role do we play?
The story of Shen Yun and its Italian promoter is not a call for a boycott. It’s a call for awareness. An invitation to demand transparency, to engage in dialogue with the cultural institutions we support with our tickets and our taxes.
It’s a reminder that a great performance is not made only of lights, costumes, and applause—it must also be built on ethics, respect for the law, and humanity.
True culture, at its highest level, cannot and must not exist apart from these values.
A Direct Appeal to the Public
For this reason, we make a direct appeal to all those who have purchased tickets for Shen Yun performances:
Do not remain silent
Your money has funded an entity that was not compliant with Italian law. You have the right to request a refund. Contact consumer protection associations, pursue legal actions to reclaim your expenses. Given the irregular status of the promoter, the revenue from these ticket sales may be considered illegitimate.
It is time for the millions generated by this opaque operation to be returned to those who, in good faith, believed they were supporting a cultural event—but instead found themselves unwittingly financing a noncompliant system. Italy has taken the first step; now it is up to its citizens to complete the work of justice.
