Abstract

María Suárez Toro and Margaret Thompson describe how the Wings of the Butterfly Project and 'The Labyrinth of the Butterflies' play are part of an organic interactive process of artistic expression in movement-building. It was written and produced in Spanish with a Costa Rican and MesoAmerican identity, but with a universal appeal in that it tells the stories of women in history from around the world who, in their life endeavours and in a variety of fields, have made significant contributions, and yet they and their work have been devalued, abused or otherwise rendered invisible.