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This article presents the research and challenges for collective creation of women artists and women victims of the conflict in Antigone, Court of Women, a play that accounts for four cases of crimes of State under the framework of the present Colombian conflict. What does the use of the representation and presentation at the same time reveal? Maybe that, women artists represent the myth as poetic space of the presentation by women victims of their theatrical self-reference about the State crimes their families have suffered? How does this play assume the female languages of solidarity, of rebellion and of anti-patriarchal ethics, aesthetics and the economy of care? What does the illusion of looking at our troubled reality from the ancient myth of Antigone discover? What does it reveal for the poetic memory of the conflict, to overcome the hatred and revenge imaginary and to move from a culture of war to a culture of peace? How does it deal with the conflict representations which inoculate daily in the collective imaginary the militaristic and media dramatization of the war? Is it possible to go beyond ideology and the dramatization of horror, the evil and the enemy and create a work that allows us to transform fear and pain into poetry and strength to be able to ask about the causes of the conflict and reaffirm life and the power of acting and thinking for ourselves?. [ABSTRACT FROM AUTHOR]

In the last sixty-five years Richard Niebuhr, John Stott, Donald Craybill, Juan Driver, and Andy Crouch have made significant contributions to understanding the church as a counterculture. Five ways the church has approached culture through the centuries, beginning in the New Testament, are (1) condemning it, (2) criticizing it, (3) consuming it, (4) copying it, and (5) creating it. All of this must be done today, exercising criteria to know what to condemn and what to copy or when to criticize and when to consume, but the goal should be the transformation of cultures and the creation of new ones that reflect kingdom values. [ABSTRACT FROM AUTHOR]

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