Lesson Plans

Why Is Civil Society Important?:

The Arpilleristas in Pinochet’s Chile
OVERVIEW
In a democracy citizens have rights, such as the freedoms of expression and of association.
Often these rights are written in a constitution or other public document. When people
freely exercise these rights, for example, by meeting to advocate for their interests, by vol-
unteering to forward a valued cause, or by protesting a government policy, they do so as
part of civil society. Civil society is a “space” whose function as a mediator between the
individual and the state distinguishes it from the government and the business sector.
While scholars debate the definition of civil society, they more or less agree that it com-
prises institutions such as religious organizations, labor unions, charities, community
groups, nonprofits, and the media. In a healthy democracy these institutions supplement
formal processes such as voting and help citizens shape the culture, politics, and
economies of their nation.

Yet, what happens when the government controls the media and arrests those who protest
publicly? What happens when individuals are afraid to associate? How do individuals and
groups find outlets to express their ideas in an atmosphere of fear and retaliation?
Ultimately, why is a vibrant civil society important? To whom? These are the kinds of
questions students will explore as they interpret several arpilleras, or tapestries, woven by
poor and working-class women during Augusto Pinochet’s dictatorship in Chile from
1973 to 1990. Although Pinochet’s regime largely dismantled civil society, the arpilleristas
(weavers) used their tapestries to draw attention to human rights abuses, especially the
plight of the thousands of men who had been “disappeared.” In their arpillera workshops,
Chilean women garnered the strength to express their political discontent publicly—in
the streets through their protests and to an international audience through their artwork.
These women voiced their outrage outside of the private, domestic places that had been
the traditional sphere for women to demonstrate their power.

The supporting primary and secondary documents included in Facing History’s case
study Stitching Truth: Women’s Protest Art in Pinochet’s Chile will help students contextual-
ize the stories of the arpilleristas while revealing important insights into civil society. For
example, learning about the torture and detention of innocent civilians during Pinochet’s
regime can help students understand how leaders can use fear tactics to dismantle the
social networks and forums for expression that nurture civil society. Moreover, when civil
society is weakened such that individuals no longer have a way to freely protest govern-
ment policies, it becomes easy for the state to abuse basic human and civil rights. At the
same time, an awareness of how the arpilleristas, women whose gender and class margin-
alized them, forged a movement for social and political change by using the resources
available to them—thread, fabric, imagination, dance, public spaces—demonstrates how
individuals and groups can leverage different elements of civil society to resist oppression
and secure human rights, even within the context of a dictatorship.

In a stable democracy many of the rights that support a vibrant civil society may be taken
for granted. Thus, studying Chile at a time when freedom of expression and association
was curtailed provides students with a unique opportunity to appreciate the function of
civil society and, ultimately, to consider their own power as actors in a civil space.

LEARNING OUTCOMES
These lessons are designed to help students…
• Construct a definition of the term civil society.
• Compare how civil society functions differently in a dictatorship than in a democracy.
• Identify tactics used by the Pinochet regime to weaken and dismantle civil society in
Chile.
• Analyze how Chileans, particularly Chilean women, participated in civil society as a
way to challenge Pinochet’s dictatorship.
• Develop their ability to gather information from primary documents, cultural artifacts,
and historical narratives.
• Consider civil society in their community and nation, including their own participa-
tion in it.

ESSENTIAL QUESTIONS
• What is civil society? Why is it important?
• What factors strengthen civil society? What are the characteristics of a society with a
vibrant civil society?
• What factors weaken civil society? What are the characteristics of a nation with a weak
civil society?
• How is civil society different in a dictatorship from civil society in a democracy?
• What are the consequences for human rights and democracy when civil society is
weakened? What are the consequences for human rights and democracy when civil
society is vibrant?
• How do individuals and groups participate in civil society? How do you participate in
civil society?

MATERIALS
• Facing History and Ourselves study guide Stitching Truth: Women’s Protest Art in
Pinochet’s Chile
• Copies of the arpilleras numbered 1 through 8 (optional: copies of the arpillera on
the cover of the study guide). Images of the arpilleras can be found in the study
guide as well as in a slide show on the Facing History and Ourselves website at
www.facinghistory.org/arpilleras.
• Map of South America (The website http://worldatlas.com/ contains several maps of
South America and Chile, which can also be found elsewhere on the Internet.)

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Suggested but not required
• A computer and projection screen could be used to present the arpilleras to the whole class.
• Supporting materials included in the appendix: Document Analysis Template,
Arpillera Presentation Preparation Worksheet, Arpilleras Presentation Graphic
Organizer

The following websites provide additional information about the definition of civil
society:

Civil Society International

www.civilsoc.org/

The London School of Economics and Political Science

www.lse.ac.uk/collections/CCS/what_is_civil_society.htm

CARE
www.kcenter.com/phls/civil.htm

Duration
Approximately 3 hours
Note: This lesson has been designed so it can be implemented in a variety of classroom
contexts. You could shorten this lesson by doing the first part of the main activity and
analyzing arpillera 6 without having students do the group work activity that follows. If
you extend this lesson (see “Extension Activities”) or if you choose to guide students
through the arpilleras and documents rather than have students work in groups, then you
could easily spend four or five class periods engaged with this material.

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PART 1: WHAT IS CIVIL SOCIETY?

To prepare students for the main activity, they first should construct a working definition
of the term civil society. One way to introduce (or review) this term is to ask students to
brainstorm all of the institutions, organizations, and individuals that influence their lives
and the lives of people in their community. Record this list on the board. Students’ lists
might include the names of government officials, judges, corporations, artists, athletes,
religious groups, nonprofit organizations, and even family members. Next, ask students
to cross off the list items that are part of the government and items that are part of busi-
ness and commerce. Finally, ask students to cross off items that they consider aspects of
their private lives, that is, something that affects them but may not influence a larger
group of people such as their friends and family. What is left is generally considered part
of civil society.

While engaged in the preceding exercise, students might express confusion about when to
cross off a particular item. Is the American Red Cross part of government because it
receives funds from the state? Is an artist, such as a popular musician, part of the econ-
omy because she makes money selling her songs? Religion can be something private and
public, depending on how it is practiced. Issues such as these illuminate the complexity
and connectedness of segments of society; roles do not often break down into neat and
tidy categories in the real world. Through discussing some of these situations, students
will have to think about the different functions institutions, individuals, and groups serve
(for example, to administer laws, to exchange goods, to express ideas, to bring people
together, etc.).

Another way to help students understand the concept of civil society is to represent it
visually. Appendix A presents two graphics that can be used to illustrate the relationship
of civil society to other segments of society. You can share these images with students, and
you can even ask them to develop their own graphic representations of civil society.

Finally, before introducing students to the case study of life in Pinochet’s Chile, have
them spend a few minutes writing in their journals in answer to the questions, Why do
you think civil society is important?, What might happen in a society with a weak civil
society?, and What might happen in a society with a strong civil society? The purpose of
asking these questions now is not to reveal students’ well-developed answers but to serve
as a pretest. After learning about life in Chile in the 1970s and 1980s, and in particular
about the role of the arpilleristas, students should be able to formulate a more robust
answer to questions about the role of civil life in a society, especially the importance of
civil society in a democracy.

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PART 2: INTRODUCTION TO THE CASE STUDY

In the main activity of this lesson, small groups of students will be responsible for using
historical documents to help interpret several arpilleras. Before students begin this work,
establish a basic context about this period in Chilean history. You might ask students to
identify Chile’s location on a map and to volunteer any information they know about
Chile. You could also give students a basic overview of the case study by presenting a
brief lecture or by asking students to review a timeline, such as the one provided in the
appendix to this lesson. (Note: This timeline is an abridged version of the timeline in the
accompanying study guide.) Before beginning the main activity, students should be able
to answer the following questions:
• Who is Augusto Pinochet? What did he do in 1973?
• What is an arpillera? Who are the arpilleristas?

Another way to introduce students to the case study is through analyzing one of the
arpilleras together. In doing so, you can model what students will do in their small group
work. Additionally, analyzing one arpillera as a class is a way to help students become
familiar with this time period in Chile. This basic familiarity will help students make
sense of the documents they will be working with in the small group activity. Arpillera 6
is appropriate for this introductory activity because of its simple imagery and its relation-
ship to various moments in the timeline. Here are some steps you might follow to help
students analyze this arpillera as they are introduced to the key ideas in this case study:

1. First ask students to describe what they see on this tapestry, prompting students to
pay attention to objects, colors, composition, lines, and shapes. They could record
their observations in their journals or notebooks. This is an appropriate time to introduce
students to the Spanish word for tapestry, arpillera, and to explain that the weavers are
called arpilleristas.

2. After closely observing arpillera 6, ask students the following questions: What story
is the weaver, Gala Torres, trying to tell?, What do you think is the meaning of this
tapestry?, and What questions do you have about the weaving? Students could do this
individually or with partners.

3. Pass out the timeline. Equipped with this historical information, ask students to
expand on their initial interpretation of the arpillera. You might provide students
with guiding questions such as: Why are the women dancing without men?, Why do
they have those images on their shirts?, and Why do you think Gala Torres decided to
weave this piece?

4. You can add to students’ analysis of the weaving with your own insights, modeling
how to make inferences based on historical information gathered from the timeline.
At the end of the analysis, students should suggest a Spanish or English title for this
arpillera.

5. A short debriefing of this exercise might ask students to reflect on how learning
more about the history of Chile changed their interpretation of arpillera 6. Students
could also brainstorm additional information they would like to know about Chile that
might help them better understand the meaning of arpillera 6. After completing the main
activity of this lesson, students should have the information they need to answer many of
their questions.
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 Sample Analysis of Arpillera 6

In arpillera 6, Gala Torres, the weaver, or arpillerista, depicts five women. The woman
in the foreground dances while another woman plays the guitar. Three women in the
background watch. Why did the artist depict only women? Where are the men? The
timeline begins to answer this question by explaining that after Pinochet’s coup, thou-
sands of individuals were tortured, killed, and detained. If this is true, then why are
the women dancing? La cueca (pronounced kway-kuh) is a popular Chilean courtship
dance. The words “La Cueca Sola” woven into the arpillera signify that these women
have to dance this courtship dance sola, or alone, because the men are missing; they
have been disappeared. Thus, these women are not dancing for entertainment or
enjoyment but as a sign of protest to draw attention to their missing brothers, fathers,
husbands, and sons. That is why the women wear an image of a man on their shirts.

Pinochet made it very difficult for Chileans to resist his government’s policies.
Pinochet’s regime controlled the media and the courts and punished those who openly
protested against the government. Hoping it would be difficult for police to shoot at
women peacefully dancing, women protesters danced la cueca to draw attention to
human rights abuses in Chile. Images of these women dancing “sola” (alone) caught
the attention of the international media and prompted leaders, including U.S.
President Jimmy Carter, to exert pressure on Pinochet to stop abusing human rights.
After watching a story about women dancing “La Cueca Sola,” the pop singer Sting
wrote the song “They Dance Alone.” (See “Extension Activities” for more information
on this song.)

Just as they danced as a form of protest, women also used their traditional folk-
weaving to resist Pinochet’s regime. The timeline explains how women formed
arpillera workshops to produce tapestries that would not only provide an income for
their families but would also draw attention to the human rights violations in their
country. Ultimately, arpillera 6 provides an example of how poor and working-class
Chilean women, some of whom could not read or write, used the resources available
to them to influence unjust government policies. Shut out of politics and commerce,
the only space these women could have influence was in these small pockets of civil
space that were protected by culture and custom—in the traditional dances and folk
traditions of Chile. After joining together in dance and in weaving cooperatives, the
arpilleristas collaborated in other forms of public protest designed to draw attention to
the human rights violations of Pinochet’s government.

Students might wonder if Torres’s efforts and the efforts of other arpilleristas were suc-
cessful. Turning to the timeline, students learn that in 1990 Pinochet stepped down
and that in 2006 a woman who was once tortured by Pinochet’s regime was elected
president. These facts might lead students to surmise that the arpilleristas’ efforts were
not in vain — that through creating artifacts that bore witness to the human rights
abuses in their community they were able to encourage social and political change in
Chile.

Note: Spanish words, such as arpillera, appear throughout the case study and the primary
documents. Many of the arpilleras included in the case study have Spanish words woven
into the tapestry. This case study provides an excellent opportunity for Spanish-speaking
students to use their language skills not only to facilitate their understanding of the mate-
rial but also to help their non-Spanish-speaking peers understand the material as well.

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 Main Activity

1. Divide the class into three groups. Each group is responsible for presenting the story
of two or three arpilleras to the class. If your class is large, you might want to divide
the class into six groups. In this case, you could assign one arpillera to each group.

2. The case study itself, as well as the primary documents included in the case study,
provide information that will help students interpret the meaning of the arpilleras.
As students reveal their understanding of the arpilleras, they will also be answering spe-
cific questions about civil society raised by these tapestries. The following chart illustrates
how the arpilleras, readings, and questions might be distributed among the three groups.
Suggested group reading assignments and questions
Group 1 Group 2 Group 3
Arpilleras 1, 2, 3 4, 5 7, 8 (optional: arpillera on
cover of case study)

Supporting “Estadio Chile,” Victor Jara’s
documents Last Poem, September 1973,
pp. 10–11
“Chilean Executions,”
Department of State
Briefing Memorandum,
November 23, 1973,
pp. 17–19
Timeline, pp. xiii–xv
Violeta Morales’s Search for Rebuilding Chile: An
Her Brother, pp. 37–39 Interview with Michelle
Bachelet, pp. 45–46
“Chile Under the Gun” an
Excerpt from My Invented Timeline, pp. xiii–xv
Country by Isabel Allende,
pp. 24–25
Timeline, pp. xiii–xv

Case study Reading 1: The End of a
excerpts Democratic Tradition
Reading 2: The Years Before
the Dictatorship
Reading 3: The Dictatorship
and the Disappeared
Reading 4: Taking a Stand
Against Pinochet: The
Catholic Church and the
Disappeared
Reading 5: Finding a Voice
in Solidarity and Art
Reading 6: The Arpilleristas:
The Courage to Resist
Reading 7: The Chilean
Struggle for Truth and
Justice

Key questions How is civil society
destroyed?
What are the characteristics
of a society with a weak civil
society?
What happens to societies
with weak civil societies?
What are the consequences
for human rights?
How do people build a civil
society?
What helps them form asso-
ciations?
How do individuals and
groups express their voices to
change society?
What resources can be used
to nurture and strengthen a
civil society?
Who has the power to par-
ticipate in a civil society?
What helps strengthen a civil
society?
Under what conditions can a
civil society flourish?
What are the characteristics
of a strong civil society?
Who has the responsibility
to participate in a civil
society?

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You do not need to assign all of these readings. Based on your students’ reading levels and
the time you have for these lessons, you might decide to use fewer readings or excerpts of
these readings. Readings could also be assigned for homework.

3. There are many ways you could structure students’ group work. Students could be
assigned documents, including excerpts of the case study, to read on their own or
with a partner. Then they could use the information gathered from their assigned docu-
ments to interpret the arpilleras. Or, the group, especially if it is small, could read all of
the documents together. We have included supporting worksheets in the appendix that
can be used to help students organize and synthesize information. The Document
Analysis Template can help students keep track of evidence gathered from supporting
documents. The Arpillera Presentation Preparation Worksheet has been designed to help
students synthesize information from the supporting documents in order to analyze their
groups’ arpilleras and to answer specific questions about civil society.

4. Each group should tell the story of its arpillera(s) to the class. As they do so, stu-
dents should provide evidence they gathered to support their interpretation and
they should address their group’s key questions about civil society. The Arpilleras
Presentation Graphic Organizer, included in the appendix, can help students take notes
during the presentations. If you have access to a computer and a large screen, you can
project images of the arpilleras. (Go to www.facinghistory.org/arpilleras to see a slide
show of these images.) If you do not have access to this technology, you can make copies
of the arpilleras for students to share.

Follow-Through
In 1977, four years after Pinochet’s coup and immediately after President Jimmy Carter
announced that U.S. foreign aid to Chile would be tied to the country’s human rights
record, Chilean writer Ariel Dorfman wrote:

Chileans have hesitantly begun taking over the public [spaces] of the country, gradu-
ally grouping in associations, clubs, cultural centers, trade unions, until they have
managed to create a vast network of organizations outside the Government’s control.
(This quotation is found on page 36 of the accompanying study guide.)1

Dorfman’s statement summarizes the relationship between civil society and the reemer-
gence of democracy in Chile. You might share this quotation with students before asking
them to reflect on the material they have learned in this lesson. One way to help students
gain awareness of their learning is to have them review what they wrote at the beginning
of class about the importance of civil society. How have their ideas about civil society
changed after learning about Chile and the arpilleras? What is the relationship between
civil society and human rights? Between civil society and democracy? What was the role
of civil society in bringing about change in Chile? These questions could be used to guide
a journal-writing activity or a class discussion. You might even ask students to represent
the relationship between civil society and democracy and/or human rights through a
drawing or a poem.

Finally, students can consider the role of civil society in their own lives. Based on what

1
Ariel Dorfman, “The Challenge in Chile,” New York Times, June 29, 1986.

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they have learned about the characteristics of strong and weak civil societies through
studying Chile, students might evaluate the health of civil society in their own commu-
nity. Students could even develop a grading system to analyze civil society. What would a
failing civil society look like? What would a thriving civil society look like? How would
they grade their own community? What might individuals and groups in their school or
community do to improve the vibrancy of civil life? These are all questions that could be
addressed in small groups or as a whole class. They could also be the focus of a final writ-
ing activity.

Assessment
• Students could turn in an analysis of an arpillera based on their understanding of the
social and political context in Chile. You could also ask students to explain what the
arpillera reveals about civil society.
• Students could create an arpillera representing their own ideas about civil society. (See
“Extension Activities” for more information on how to structure an arpillera-making
activity.)
• Any of the prompts in the “Follow-Through” section of this lesson plan could be used
to frame an essay assignment.

Extension Activities
• A culminating project for this lesson could involve students creating an arpillera repre-
senting their ideas about civil society. Students probably will not have the time or skills
to weave their own tapestry, but they can create an arpillera with other materials such
as felt, fabric, construction paper, magazine cutouts, and glue. Begin by asking stu-
dents to develop a specific message about civil society. The activities suggested in the
“Follow-Through” section might help students generate ideas. Next ask students to
think about what images and colors would help them express that message. Other
guiding prompts: What items should be in the foreground of the piece? In the back-
ground? What images do you want to receive the most attention? How might you use
color, lines, and placement to emphasize important images? Students could present
their arpilleras to the class. Or they could mount a public exhibition drawing attention
to issues related to civil society today.
• The popular musician Sting wrote the song “They Dance Alone / Ellas Danzan Solas”
after he saw a news story about Chilean women dancing in the streets of Chile in
protest of Pinochet’s oppressive regime. As depicted in arpillera 6, the women danced
with pictures of their missing fathers, sons, husbands, and brothers pinned to their
clothes. He performed the song in both English and Spanish, and he even sent a copy
of this song to Pinochet. The following links lead you to the lyrics in English and in
Spanish:

(English version) www.azlyrics.com/lyrics/sting/theydancealone.html

(Spanish version) www.azlyrics.com/lyrics/sting/ellasdanzansolascuecasolas.html

Listening to this song and reading the lyrics provides students with another entry
point to the history of Pinochet’s Chile and the Chilean women’s resistance movement.
Sting’s song “They Dance Alone” highlights the role of the artist as a participant in
civil society and encourages students to consider the roles of art, music, dance, and
drama in protest and resistance.

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• Maurice Ogden’s poem, “The Hangman,” tells the story of a town where the residents
are hanged, one by one, by a mysterious stranger who erects a gallows in the center of
the town. For each hanging the remaining townspeople find a rationale. When the
hangman finally comes for the last survivor, that man recognizes that no one is left to
save him. In the final stanza of the poem, Ogden expresses this man’s thoughts before
his execution:

Beneath the beam that blocked the sky

none before stood as alone as I.
The Hangman then strapped me, with no voice there
to cry “Stay!” for me in the empty square

The text of the poem can be found at www.propertyrightsresearch.org/articles6/

hangman_by_maurice_o.htm. The short film, “The Hangman,” is available from the
Facing History and Ourselves library.

After reading the poem or viewing the film, students can compare Ogden’s message
about fear and tyranny to life in Chile under Pinochet’s rule. “The Hangman” focuses
on the relationship between fear and bystander behavior that is also described by Isabel
Allende in her memoir, My Invented Country: A Nostalgic Journey Through Chile. For
example, when Allende writes, “In Chile, where friendship and family are very impor-
tant, something happened that can be explained only by the effect that fear has on the
soul of a society,” (found on p. 24 of the study guide) it is reminiscent of residents of
the town turning their backs on one another after the hangman arrived. Furthermore,
Marjorie Agosín conjures images of a “sense of void” in Chile (p. 16 of the study
guide) that mirror the scenes depicted in “The Hangman.” However, while in “The
Hangman” all of the residents surrendered to their fear of being hung, in Chile some
citizens, such as the arpilleristas, found creative ways to protest publicly, even within a
context where the government was known to be detaining, torturing, and murdering
anyone suspected of protest activities. An interesting discussion might focus on the
factors that enabled or supported protest and resistance even under the fear of state
retaliation.

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APPENDIX

What is civil society?

Graphic 1

Government (the “State”) Business

CIVIL SOCIETY

Individuals

Graphic 2

Government

Business Non-Profit

Civil society = the arrows, representing the “dynamic relationship between governmental,
business, and nonprofit sectors,” Source: www.kcenter.com/phls/civil.htm

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ABRIDGED TIMELINE OF CHILE’S RECENT HISTORY

1970
November 3 Salvador Allende, as leader of the Unidad Popular (Popular Unity
party), defeats a former president, Jorge Alessandri, to assume the presi-
dency. Allende implements controversial social and economic reforms
in his “Chilean Way to Socialism” program.

1973
September 11 Pinochet leads the Chilean army in a violent coup that ends Allende’s
government and brings the country under a harsh military dictatorship.
(Allende makes a farewell speech shortly before the capture of the
palace and is believed to have committed suicide.)

1973–1990
Some 130,000 Chileans are brutally detained by officials working for
Pinochet; many are tortured and an estimated 3,000 are killed or “dis-
appeared.”

1974
A group of women in search of disappeared family members organize
the first of the arpillera workshops. Making arpilleras that chronicle the
human rights violations of Pinochet’s regime becomes not only a means
for Chilean women to support their families but also a powerful form
of protest and resistance.

1988
October 5 Under provisions in Chile’s constitution of 1980, a referendum is held
to decide the country’s leadership. Chileans vote for a return to democ-
racy and elections are held in 1989.

1990
March 11 Pinochet steps down and Patricio Alwyn is democratically elected presi-
dent. (Pinochet becomes the commander-in-chief of the army.)

2006
March 11 Michelle Bachelet, whose father died three decades earlier at the hands
of DINA, is sworn in as Chile’s first female president. As the defense
minister in 2003, Bachelet helped formulate a declaration that Chile’s
military would “never again” depose a democratically elected govern-
ment.

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DOCUMENT ANALYSIS TEMPLATE

Name of document:

Type of document:

Main ideas:

Facts Opinions Not sure

What ideas does this document reveal about civil society? (You may wish to refer to the
following key questions for your group.)

Group 1: What strategies can be used to destroy civil society? What are the characteristics
of a society with a weak civil society? What are the consequences for human rights and
democracy when civil society is destroyed?

Group 2: How do people build civil society? What helps them form associations? How
do they express their voices in order to change society? What resources can be used to
nurture and strengthen civil society? Who has the power to participate in civil society?

Group 3: What strengthens civil society after periods of conflict? Under what conditions
can civil society flourish? What are the characteristics of a strong civil society? Who has
the responsibility to participate in civil society?

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ARPILLERA PRESENTATION PREPARATION WORKSHEET

PART I: For each arpillera, answer the following questions:

1. Describe this arpillera. What do you see? Take note of objects, colors, composition,
lines, and shapes.

2. What is the message? What is the weaver trying to say? How is the weaver using line,
shape, color, and composition to express this message or story?

3. What evidence do you have to support your interpretation of this weaving? Refer to
at least five quotations or facts from supporting documents.

4. What do you think would be a good title for this arpillera?

PART II: What do these arpilleras and the supporting documents reveal about civil soci-
ety? Answer the specific questions for your group.

Group 1: What strategies can be used to destroy civil society? What are the characteristics
of a society with a weak civil society? What are the consequences for human rights and
democracy when civil society is destroyed?

Group 2: How do people build civil society? What helps them form associations? How
do they express their voices in order to change society? What resources can be used to
nurture and strengthen civil society? Who has the power to participate in civil society?

Group 3: What helps strengthen civil society after periods of conflict? Under what condi-
tions can civil society flourish? What are the characteristics of a society with a strong civil
society? Who has the responsibility to participate in civil society?

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ARPILLERAS PRESENTATION GRAPHIC ORGANIZER

Arpillera Message and Supporting What this arpillera

number or main ideas evidence reveals about
title civil society

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