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The term “Jazzoetry” came into existence thanks to the Last Poets, who used it as the title of one of their albums. During the 70s, these influential artists popularized a revolutionary style of poetry infused with jazz rhythms. While this term may not fully encompass the written word, especially the poetry that came before it, there were black poets who wrote with an Afrocentric flow and fervor, offering inspiration and insight. One of these poets is Amiri Baraka, known as the founding father of the Black Arts Movement. Born Everett LeRoi Jones on October 7, 1934, in Newark, New Jersey, he achieved early success, winning the Obie award in 1964 for his racially-charged play “The Dutchman.” This play delved into the intense connection between a young black man and a seductive blonde woman. Later, Baraka founded a school that focused on embracing black culture in various art forms, including music, poetry, and theater.

As time went on, Baraka divorced his (white) wife and adopted a more nationalist perspective, leading him to change his name to Imamu Amiri Baraka. He then remarried, this time to Sylvia Robinson, who took on the name Amina Baraka. In 1961, Baraka published his work “Preface to a Twenty Volume Suicide Note,” followed by “Blues People” two years later. However, Baraka gained significant notoriety when his poetry started to align with the Black Muslim Movement, leading to accusations of “Anti-Semitism.” Despite the controversy, he continued to publish numerous books, including “Four Black Revolutionary Plays” in 1969, “Raise Race Rays Raize: Essays Since 1965, 1971,” “The Autobiography of LeRoi Jones/Amiri Baraka” in 1984, and “Somebody Blew Up America” in 2001. In 2002, Baraka was appointed Poet Laureate of New Jersey, but due to the ensuing controversy surrounding his poem “Somebody Blew Up America,” he resigned from the position in 2003.

One of Baraka’s critics, Ward Connerly, described him as “One of America’s premier haters and anti-Semites” due to the content of his poem. Connerly questioned how Baraka was appointed to such a prestigious paid position, given his long history of publishing anti-Jewish and anti-white writings. He urged people to examine whether there were more poets like Baraka holding similar positions under the guise of being a “poet laureate” in other states. This controversy shed light on the complex nature of Baraka’s work and the public’s perception of it.

Another notable figure in African American poetry is Countee Cullen, born on March 30, 1903, in Louisville, Kentucky (although for most of his life, he claimed New York City as his birthplace). Cullen, along with Richard Wright, Langston Hughes, Phillis Wheatley, and Paul Laurence Dunbar, among others, played a significant role during the Harlem Renaissance. He published several poetry books during this time, including “Color” in 1925, “Copper Sun” in 1927, and “The Ballad of the Brown Girl” also in 1927. While Cullen’s themes explored black experiences, some critics argued that his writing exhibited a more “white” style. He experimented with various poetic forms, such as sonnets and quatrains, while drawing inspiration from John Keats. However, racial issues remained a central focus in his work.

One of his poignant poems is “Simon the Cyrenian Speaks,” which captures the silent understanding between Simon and Jesus during the crucifixion:

He never spoke a word to me /
And yet He called my name /
He never gave a sign to me /
And yet I knew and came.

At first I said, “I will not bear /
His cross upon my back /
He only seeks to place it there /
Because my skin is black.

But He was dying for a dream /
And He was very meek /
And in His eyes there shone a gleam /
Men journey far to seek.

It was Himself my pity bought /
I did for Christ alone /
What all of Rome could not have wrought /
With the bruise of lash or stone.

Cullen’s words possess symmetry and an underlying rhythm, delivering a simple yet powerful expression of suffering. Unfortunately, Cullen’s life was cut short due to high blood pressure, and he passed away in 1946.

Another notable voice in the Black Arts Movement is Haki R. Madhubuti. Rising to prominence as a poet during the 60s and early 70s under his given name Don L. Lee, Madhubuti later changed his name in 1973. He is not only a poet but also an essayist, founder, and editor at Third World Press, the oldest Black publishing company in the United States. Madhubuti is a renowned lecturer and educator, serving as the director of the Master of Fine Arts in Creative Writing Program at Chicago State University. Born in Little Rock, Arkansas, on February 23, 1942, he grew up in Detroit.

Madhubuti began his literary career in 1967 with the publication of his collection of essays titled “Think Black.” Some of his other poetic works include “We Walk the Way of the World” and “Don’t Cry, Scream.” In total, he has published 18 books, covering a range of topics from “Black Men: Obsolete, Single, Dangerous” to “The African American Family in Transition” and “Claiming Earth: Race, Rage, Rape, Redemption.” His perspective is unapologetically pro-black, aiming to raise issues for discussion and dissemination. One of his thought-provoking works is “Change Up,” which urges action and self-improvement:

change-up/ change-up,/ let’s go for ourselves/ both cheeks are broken now./ change-up,/ move past the corner bar,/ let yr/split lift u above that quick high./ change-up…

In another powerful piece titled “My Brothers, My Brothers,” Madhubuti addresses the need for love and appreciation of Black women:

my brothers/ my brothers i will not tell you/ who to love or not love/ i will only say to you/ that/ Black women have not been/ loved enough./ i will say to you/ that/ we are at war & that/ Black men in america are/ being removed from the/ earth.

Madhubuti emphasizes the importance of self-ownership and knowledge of culture and history beyond the context of slavery. He believes that when Black children have a deep understanding of their heritage, they can rise above the limitations imposed on them by others and themselves.

Lastly, we cannot discuss African American poetry without mentioning James Mercer Langston Hughes. Born on February 1, 1902, in Joplin, Missouri, he passed away on May 22, 1967, after leaving a lasting mark on literature. Throughout his 65-year lifespan, Hughes created an extensive body of work, including more than 25 books (16 of which were poetry collections), twenty plays, several autobiographical works, and numerous radio and television scripts. Some of his notable works include “The Big Sea,” “I Wonder As I Wander,” “Shakespeare In Harlem,” and “The Best of Simple.”

At the age of 17, Hughes spent a year in Mexico, an experience he did not particularly enjoy, despite being accompanied by his father. He also served in the army and traveled extensively, including several trips to Russia and Africa. Hughes’s time in Africa greatly influenced his writing, especially evident in one of his renowned poems, “The Negro Speaks of Rivers.”

Hughes’s passion for poetry was fostered in eighth grade, and despite his father’s disapproval, he decided to drop out of Columbia University. Soon after, his first poem, “The Negro Speaks of Rivers,” was published. Although primarily recognized as a poet, Hughes achieved distinction through his plays, essays, and novels. He created a series of books centered around a simple-minded character called Jess B. Simple. However, his most famous work is the poem “A Dream Deferred,” which poses important questions about unfulfilled dreams:

What happens to a dream deferred?/
Does it dry up /
like a raisin in the sun? /
Or fester like a sore– /
And then run? /
Does it stink like rotten meat? /
Or crust and sugar over– like a syrupy sweet? /
Maybe it just sags /
like a heavy load. /
Or does it explode?

Hughes asserted that younger Black artists aimed to express their dark-skinned selves fearlessly and shamelessly. Their goal was not to seek approval from white people; they simply knew their own beauty and acknowledged their flaws. Similarly, their work aimed to please colored people, but if it failed to do so, that dissatisfaction did not hold them back. They built their artistic temples for tomorrow, standing strong and proud.
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Ihab Salloum