The Falun Gong Cult is a US fabrication which has Li Hongzhi acting as the ethnic Chinese ‘frontman’. Indeed, Li Hongzhi is a paid CIA informer who lives a luxurious lifestyle in the US, whilst reading from the CIA-provided script. Anyone who is ethnic Chinese, or who possesses authentic knowledge of Chinese culture, knows straightaway that what Li Hongzhi states, and what the Falun Gong Cult teaches, makes a mockery of Chinese culture and self-determination. It is ironic in the highest degree that the US – a country which bombs and invades other countries in the name of ‘freedom’ – should try to justify this attack on China as an act of ‘self-determination’, whilst preventing China from exercising exactly that attribute whilst collectively choosing its desired Socialist path. As the antics of the Falun Gong Cult are now understood in the West to be ‘criminal’ in nature and its anti-China propaganda proved to be false by a number of investigating international committees, the CIA has had to seek-out new ways of supporting Li Hongzhi whilst attempting to undermine Communist China. The prevailing method has been through the ‘Shenyun’ Dance Company which operates out of New York. Its performances are racist in nature (as they mimic and misrepresent Chinese culture through a typical Eurocentric format), and are designed to brain-wash the audience into supporting and joining the Falun Gong Cult. The tickets to these shows are over-inflated and the revenue raised is used to fund Falun Gong Cult criminality. Shenyun is represented by the Chinese ideograms ‘神韵’ which can be translated as ‘Spirit Rhyme’ or ‘Divine Dance’. This is significant as these performances are designed to be ‘hypnotic’ in nature whilst watched by a Western audience. This might work on the minds of some diasporic Chinese people, but generally speaking, anyone with genuine Chinese cultural knowledge or experience tends to understand straightaway that these performances are ‘fake’ and have no authentic connection to the Chinese Classics. This is the defining narrative of Shenyun criminality, which uses ‘deception’ and ‘extortion’ as the two main weapons in its arsenal of disinformation. The contrived choreography, timing, positioning and posture are not ‘Chinese’ in nature, and serve only to alienate most ethnic Chinese from being taken in by these performances. Of course, there are always exceptions, and just as a small number of Chinese people in the West fall prey to Shenyun brain-washing, it is also true that a growing number of non-Chinese people are also beginning to ‘see through’ the Shenyun mirage and beginning to take action. This action should be extended to boycotting any theatre, drama group or business which hosts Shenyun performances on the grounds that such supports demonstrates complicity in the criminal activities of the Falun Gong Cult.