Critic Megan Timney[3] argues that working-class women poets engaged with nineteenth century class politics and their simple use of diction and themes resonated with.
Timney[3] argues that working-class women poets engaged with nineteenth century class politics and their simple use of diction and themes resonated with Chartist poetry.
In works written by Mary Hutton, she incorporated issues of the day during the 1830s and 1840s by politicizing both gender and class while carefully walking a line of legislative changes and political revolution.
Political Poetry was widespread across Ireland in the mid 19th century: "The national and the feminine [was] frequently mixed in the rhetoric of the newspaper" (Boland).
Critic Christopher Conway argues that in the disarray of the U.S.-Mexican War of 1846-1848, many Mexican writers recognized that the losses their country was facing were due to the disconnection among their people.
Many poets, such as John Trudell and Wendy Rose, represent the hardships that American Indians face in their poetry to "ignite and create a unified, spiritual flame".
[8] In the mid to late 1980s, influential poets and musicians, such as John Trudell and Jesse Ed Davis, created musical poems about American Indian hardships.
Tsosie asserts "contemporary Indian poets... utilize the strength of their traditional past to address the critical issues of present and future".
Tsosie argues "Ward Churchill... notes a central continuity between the 19th century Ghost Dance vision and the contemporary politically motivated poetry of many American Indians".
This also gave hip hop artists motivation to criticize the mainstream media as well as the U.S. government and FEMA for the lack of support for the victims.
Local artists Mia X and 5th Ward Weebie both used the platform of hip hop to express the difficulties their community was experiencing in the aftermath of Katrina.
A notable example of criticism comes from an off-the-script speech during A Concert for Hurricane Relief where Kanye West candidly exposed double standards in the media when it came to the ethnicity of looters.
Therefore, her presentation of race and racial identity are "not marginal to her poetry but central to her project of desiring to dematerialize whatever...keeps states of being and of nature separate."
Wang concludes that "those who were later to be called 'Asian American' were, from the very beginning, both political (in the broadest sense) and formal, aesthetically self-conscious – never delinked from the social and historical contexts of their making and of the poets' formations".
Thus, Desi artists approach hip hop as an extension of their social activists work of being political while helping to build the community they live in.
Critic Susan Somers-Willett asserts that slam poetry began between November 1984 and July 1986, in the Green Mill Jazz Club in Chicago.
Using poems such as "Thick" by Sonya Renee, "Tongue Tactics" by Mayda Del Valle, and "To Be Straight" by Regan Fox, Somers breaks down how each poet's work is an embodiment of themselves and their individual emotions and struggles.
Somers also claims that, "poems that make an empowered declaration of marginalized identity and individuality are a staple of one's slam repertoire".
For example, in his lyrics he criticizes Americans who "pledge allegiance to a flag that neglects us Honor a man that who refuses to respect us Emancipation, Proclamation, Please!
Redneck cops Constantly Jacking us up Now I bet some punk will say I'm racist I can tell by the way you smile at me Then I remember George Jackson, Huey Newton And Geronimo 2 hell with Lady Liberty In El Salvador "since 1979, 75,000 Salvadorans have died in politically related violence...over two million live in extreme poverty".
Mary DeShazer claims that "Exiled poet Liliam Jimenez's bitter address to Salvadoran soldiers offers a searing indictment of fifty years of military atrocities and employs apocalyptic revenge motifs, fantasies of retributive violence."
Zoe Anglesey writes about how to move on from war: "Young women and men of the future / for you it's waiting / the final moment of transition / for you / the day of infinite purple is reserved / the triumph coppery from our blood / for you will be / the bread and soil of our dreams / the all-night worry of our struggles/ the honey and water of our wounds."
One example of this is the poem "The Epos of the Liberation" about the War of Independence written by Adil Ali Atalay: It is grievous to be a prisoner in my own country, My mother cried out, did you hear it, sister?
We were invincible, we became one and complete, We were undividable, we were together with Ata[türk], Not as captives, if we had died we would have been free, The brave men said [this is] the time and place, and [they] became heroes This excerpt shows some structure of a typical Alevi poetry.
According to Dressler, their work includes "epic tales, songs of love and devotion, religious hymns, as well as social and political critiques".
One reason this political poetry is written is because it's a response to the following event: On June 2, 1993, in the city of Sivas about thirty-five Alevi people were killed in a hotel fire by the Sunnis.
There were several significance poets who wrote political poetry and spoke out against the grime by using their influence within the community to unite everyone and make a call for action.
[20] Political election campaigning will at times be conducted through kimondo in order to provide critique of an opponent's competing points of view.
This form of political poetry has been written out of satire by popular Kenyan poets in the past who are then hired by parliamentary to present a poem intended for attack and rebuttal.
After the death of China's communist leader Mao Zedong, poets chose to write poetry that "[eulogized] the heroes that fought against the gang of four" (Shiao 1983).