A cultural artifact is finally emerging from storage in Kansas City, Missouri. After twelve years in crates, “The Three Princesses” sculpture (also known as “Las Tarascas”) will soon be displayed on Southwest Boulevard, celebrating the city’s strong ties with its sister city, Morelia, Mexico. This bronze artwork depicts three kneeling women lifting a bowl of fruit skyward—a powerful symbol of cultural heritage now finding its rightful place in Kansas City’s landscape. As the installation moves forward, the sculpture promises to become a landmark honoring Hispanic-American identity in one of the city’s most lively neighborhoods.
Origin and Cultural Significance:
“The Three Princesses” sculpture is a bronze replica of the famous “Fuente de las Tarascas” fountain in Morelia, Mexico, created by artist Jose Luis Padilla Retana in 1984. The original artwork itself was inspired by an earlier cement fountain that stood in Morelia’s center from 1931 to 1965. This artistic lineage represents an important cultural element for the people of Michoacán state, where Morelia is located. The sculpture’s bronze craftsmanship showcases remarkable detail in its depiction of native fruits, including corn and gourds—elements central to indigenous agricultural traditions.
While the original artists didn’t initially give the female figures specific meaning, they’ve come to symbolize three legendary Purépecha princesses: Atzimba, Eréndira, and Tzetzangari. Each princess has her own unique story—one was banished for falling in love with a Spanish explorer, another courageously resisted Spanish conquistadors, and the third’s tears are said to have filled Lake Zirahuén. The name “Tarascas” itself reflects colonial history, as Spanish colonists applied this name to the indigenous Purépecha people of Michoacán. This artwork preserves and celebrates these indigenous stories and cultural heritage.
Sister City Relationship:
The sculpture arrived in Kansas City in 2013 as a gift marking the 40th anniversary of the sister city relationship between Kansas City and Morelia, which began in 1973. This relationship represents one of Kansas City’s oldest international partnerships and has fostered decades of cultural exchange and goodwill between the two communities. The bronze sculpture was meant to stand as a physical embodiment of this enduring friendship, though its journey to public display would take longer than expected. The gift reflects the deep bonds that have developed over four decades of collaboration, educational exchanges, and shared cultural celebrations.
- The ‘Las Tarascas’ sculpture in Kansas City, following a 12-year journey to its new home. Source: kansascity.com
Kansas City maintains an impressive network of twelve sister city relationships worldwide, including partnerships with Seville, Spain (established 1967); Kurashiki, Japan (1972); Tainan, Taiwan (1989); Xi’an, China (1989); and, more recently, Metz, France (2025). These international connections have enriched Kansas City with cultural landmarks throughout the metropolitan area, including the Sister Cities International Bridge along the Country Club Plaza, Chinese terracotta warrior statues, and a Japanese garden in Loose Park. “The Three Princesses” joins this collection of international gifts that collectively showcase Kansas City’s commitment to global engagement and cultural diversity.
Journey to Display:
Despite its cultural significance, “The Three Princesses” spent twelve years in storage rather than on public display. City engineer Nicolas Bosonetto recently revealed the sculpture’s condition to the Municipal Arts Commission, noting the team’s amazement at discovering the beautiful bronze coloring and intricate details of the fruit and figures once they began cleaning the pieces. Joe and Gloria Bessenbacher, chairs of the Morelia sister city committee, had long advocated for placing the sculpture near the Sister Cities International Bridge on the Country Club Plaza, where it would receive significant visibility, but these efforts did not succeed.
After years of community advocacy, the Municipal Arts Commission unanimously approved installation at a triangular parcel where Southwest Boulevard meets Avenida Cesar E. Chavez (West 23rd Street) and West Pennway Avenue. This location on the West Side was explicitly selected to honor the neighborhood’s Hispanic heritage. However, some supporters like Gloria Bessenbacher expressed disappointment that the artwork wouldn’t receive the prominence of a Plaza location. The decision followed extensive community engagement, including Spanish-language meetings, to ensure the installation would properly represent and serve the neighborhood where it will stand.
Community Impact and Future Plans:
The installation of “The Three Princesses” is not an isolated project but part of a broader Southwest Boulevard reconstruction initiative. The plan includes adding bike lanes, stamped concrete sidewalks, enhanced landscaping, and additional trees along the boulevard. According to Bosonetto, community feedback emphasized creating a space that is “safe, accessible for all, and undeniably West Side,” with artwork that authentically represents Hispanic-American cultural roots. The sculpture’s placement directly responds to community desires for public art that reflects the neighborhood’s cultural identity and history.
While the original fountain in Morelia features water elements, the Kansas City installation is currently planned without a functional fountain component. This decision stems from maintenance challenges exemplified by the nearby West Side Fountain, which has suffered persistent repair issues since its 2001 dedication. Instead, the existing fountain may be transformed into a “flower fountain” filled with plantings. Questions regarding the new sculpture’s security, upkeep, and potential protective fencing remain under consideration as the city finalizes installation plans. Despite these practical considerations, the arrival of “The Three Princesses” on Southwest Boulevard represents a significant cultural milestone for Kansas City’s West Side community.
