Voluntas closely connected to the change in perspective of the new tactics.The new tactical approach is supposed to create a public discussion turning DV into a publicly hot topic.Even in a semi-authoritarian context,policy cadres of a one-party system cannot ignore pressing social issues,especially if the elites base their legitimacy on the safeguarding of women's rights,a topic closely intertwined with DV The framing strategies of these actions may be a further explanatory factor for the difference in media coverage.The Occupy Men's Bathroom action juggled two elements often perceived as controversial by the public:the label occupy and women's occupancy of men's bathrooms itself(Wang 2012).The former aligns the activism with the international Occupy movement and as such may be perceived as a provocation by the Chinese authorities.The latter was vividly discussed as an inappropriate tactic since women were entering men's bathrooms and thereby publicly contradicting established gender segregation(Wei 2014). These findings suggest that activists'assumptions that performance art advocacy on principle receives broad media coverage (Interview 5,8,and 9)are exaggerated. However,performance art advocacy represented a new tactical approach in the repertoire of the Beijing ADV activists,allowing them to rally support for their goals from the public,who seem to be increasingly aware of the problem of DV. However,if activists want a topic to become a key issue in official discourse they need to obtain coverage in traditional mass media: In reality,if you want to turn an hot topic into to a core topic you still need coverage by the mass media.(Interview 7,translation by author) In this sense the incorporation of performance art into the tactical repertoire of the Beijing ADV activism was not as successful as anticipated,since it was precisely the mass media that was reluctant to cover the activism. The final analysis of the impact of the tactical approach of performance art advocacy for the Beijing ADV movement will investigate whether the approach was a pre-existing or unprecedented tactic. 2012,Beijing Legend: ·February2012: 2012,Zhengzhou Beljing South Korea November 2012: 2012,Xi'An Wuhan,Hubei Province ·D0 cember2012 2012,Wuhan 2012,Shanghai Guangzhou Dongguan,Guandong Province, 2012,Hangzhou Hangzhou,Zhejiang Province;Shanghai, Xi'An,Shaanxi Province: ming Zhengzhou,Henan Province, 2012,Dongguan December 2013:Kunming.Yunnan nmar Province Fig.3 Map:Injured Brides duplicate events (non-representative).February 2012 Beijing.November 2012 Wuhan,Hubei Province.December 2012 Guangzhou and Dongguan.Guandong Province, Hangzhou,Zhejiang Province:Shanghai,Xi'An,Shaanxi Province:Zhengzhou,Henan Province. December 2013 Kunming.Yunnan Province (Color figure online) 2Springerclosely connected to the change in perspective of the new tactics. The new tactical approach is supposed to create a public discussion turning DV into a publicly hot topic. Even in a semi-authoritarian context, policy cadres of a one-party system cannot ignore pressing social issues, especially if the elites base their legitimacy on the safeguarding of women’s rights, a topic closely intertwined with DV. The framing strategies of these actions may be a further explanatory factor for the difference in media coverage. The Occupy Men’s Bathroom action juggled two elements often perceived as controversial by the public: the label occupy and women’s occupancy of men’s bathrooms itself (Wang 2012). The former aligns the activism with the international Occupy movement and as such may be perceived as a provocation by the Chinese authorities. The latter was vividly discussed as an inappropriate tactic since women were entering men’s bathrooms and thereby publicly contradicting established gender segregation (Wei 2014). These findings suggest that activists’ assumptions that performance art advocacy on principle receives broad media coverage (Interview 5, 8, and 9) are exaggerated. However, performance art advocacy represented a new tactical approach in the repertoire of the Beijing ADV activists, allowing them to rally support for their goals from the public, who seem to be increasingly aware of the problem of DV. However, if activists want a topic to become a key issue in official discourse they need to obtain coverage in traditional mass media: In reality, if you want to turn an hot topic into to a core topic you still need coverage by the mass media. (Interview 7, translation by author) In this sense the incorporation of performance art into the tactical repertoire of the Beijing ADV activism was not as successful as anticipated, since it was precisely the mass media that was reluctant to cover the activism. The final analysis of the impact of the tactical approach of performance art advocacy for the Beijing ADV movement will investigate whether the approach was a pre-existing or unprecedented tactic. Fig. 3 Map: Injured Brides duplicate events (non-representative). February 2012 Beijing. November 2012 Wuhan, Hubei Province. December 2012 Guangzhou and Dongguan, Guandong Province, Hangzhou, Zhejiang Province; Shanghai, Xi’An, Shaanxi Province; Zhengzhou, Henan Province. December 2013 Kunming, Yunnan Province (Color figure online) Voluntas 123