Voluntas efforts aimed to institutionalize their advocacy within the polity.Only recently the public has been considered as useful pillar in the mobilization process for better legal protection against DV,due to an increase in awareness of DV. ADV activists argue that the outcomes of this tactical approach are evident.The increased awareness for DV among all Chinese,(policy)cadres,scientists,and the general public would only be the most obvious of these outcomes (Interview 6). With regard to legal improvements,ADV activists argue that incremental improvements since 1995,especially since the turn of the millennium,have been a direct consequence of their mobilization (Interviews 2,6,and 11).Among these improvements are the revision of the Marriage Law in 2001,which included DV as an acceptable reason for divorce (Lui 2011),and the creation of local rules or policies dealing with DV in 28 out of 34 provinces or equivalent administrative regions(Creasey et al.2013).Performance art advocacy,while strongly embedded in this movement,differs from this previous tactical approach significantly. Performance Art Advocacy as Tactical Innovation in the Beijing ADV Movement Performance art advocacy deviates significantly from the previously discussed tactics: The young people have a different way than the old (...)the previously existing approach basing on experience and expert knowledge is completely different.(...)The old approach relied on articles,experts,or the ACWF.But this new approach is a very direct activity;it is the freedom of speech of the public.(...)These activities try to make the public discuss such hot topic. (Interview 7,translation by author) In the following discussion,two prominent cases of performance art advocacy-the Injured Brides activism and the activism accompanying Kim Lee's final court hearing-will be described and their effects for ADV mobilization in general will be analyzed. The Injured Brides Activism15 In 2012,three women in western-style wedding dresses adorned with red marks symbolizing blood stains paraded through the Qianmen pedestrian street holding signs drawing attention to the social problem of DV(Chen 2012).Their signs stated that love is no excuse for violence(爱不是暴力的借口)，proclaimed a violence-free zone since equality is the precondition for harmony(暴力无特区平：平等才和谐)， and questioned why the majority stayed silent despite DV occurring in close proximity to them(你依然沉默？暴力在身本).The Injured Brides event was the Par42 The name'Injured Brides'is a translation of受伤的新w娘，the name that the activists used to refer to their own activities. 2Springerefforts aimed to institutionalize their advocacy within the polity. Only recently the public has been considered as useful pillar in the mobilization process for better legal protection against DV, due to an increase in awareness of DV. ADV activists argue that the outcomes of this tactical approach are evident. The increased awareness for DV among all Chinese, (policy) cadres, scientists, and the general public would only be the most obvious of these outcomes (Interview 6). With regard to legal improvements, ADV activists argue that incremental improvements since 1995, especially since the turn of the millennium, have been a direct consequence of their mobilization (Interviews 2, 6, and 11). Among these improvements are the revision of the Marriage Law in 2001, which included DV as an acceptable reason for divorce (Lu¨ 2011), and the creation of local rules or policies dealing with DV in 28 out of 34 provinces or equivalent administrative regions (Creasey et al. 2013). Performance art advocacy, while strongly embedded in this movement, differs from this previous tactical approach significantly. Performance Art Advocacy as Tactical Innovation in the Beijing ADV Movement Performance art advocacy deviates significantly from the previously discussed tactics: The young people have a different way than the old (…) the previously existing approach basing on experience and expert knowledge is completely different. (…) The old approach relied on articles, experts, or the ACWF. But this new approach is a very direct activity; it is the freedom of speech of the public. (…) These activities try to make the public discuss such hot topic. (Interview 7, translation by author) In the following discussion, two prominent cases of performance art advocacy—the Injured Brides activism and the activism accompanying Kim Lee’s final court hearing—will be described and their effects for ADV mobilization in general will be analyzed. The Injured Brides Activism15 In 2012, three women in western-style wedding dresses adorned with red marks symbolizing blood stains paraded through the Qianmen pedestrian street holding signs drawing attention to the social problem of DV (Chen 2012). Their signs stated that love is no excuse for violence (爱不是暴力的借口), proclaimed a violence-free zone since equality is the precondition for harmony (暴力无特区平: 平等才和谐), and questioned why the majority stayed silent despite DV occurring in close proximity to them (你依然沉默?暴力在身本). The Injured Brides event was the Par42 The name ‘Injured Brides’ is a translation of受伤的新娘, the name that the activists used to refer to their own activities. Voluntas 123