I hope this helps...
First—a definition. Protest, as used herein, refers to the practice within African American literature of bringing redress to the secondary status of black people, of attempting to achieve the acceptance of black people into the larger American body politic, of encouraging practitioners of democracy truly to live up to what democratic ideals on American soil mean. Protest literature consists of a variety of approaches, from the earliest literary efforts to contemporary times. These include articulating the plight of enslaved persons, challenging the larger white community to change its attitude toward those persons, and providing specific reference points for the nature of the complaints presented. In other words, the intention of protest literature was—and remains—to show inequalities among races and socio-economic groups in America and to encourage a transformation in the society that engenders such inequalities. For African Americans, Some of the questions motivating African American protest poetrythat inequality began with slavery. How, in a country that professed belief in an ideal democracy, could one group of persons enslave another? What forms of moral persuasion could be used to get them to see the error of their ways? In addition, how, in a country that professed belief in Christianity, could one group enslave persons whom Christian doctrine taught were their brothers and sisters? And the list of “hows” goes on. How could white Americans justify Jim Crow? Inequalities in education, housing, jobs, accommodation, transportation, and a host of other things? In response to these “hows,” another “how” emerged. How could writers use their imaginations and pens to bring about change in the society? Protest literature, therefore, focused on such issues and worked to rectify them. Poetry is but one of the media through which writers address such issues, as there are forms of protest fiction, drama, essays, and anything else that African Americans wrote—and write.
Since this category is so large, three arenas of protest poetry will constitute its parameters. The first will deal with protest poetry during slavery, the second with protest poetry during the period of segregation and Jim Crow, and the third with protest poetry after political obstacles to equality were presumably removed.
Protesting against slavery came easily to most African American writers who took up pens before 1865. One of the primary objectives of black Protest poetry during slavery timeswriting during slavery was to bring about the end of slavery. Since slavery existed foremost in the South, writers often directed appeals for freedom to northern whites, whom they hoped would influence their slaveholding counterparts in the South. “Northern sympathizers” as an audience became a kind of catch phrase for much of the black writing from this period. That audience was especially important given the fact that the majority of African Americans not only did not have the power to change their condition, but they were mostly illiterate. It would be well into the twentieth century before a substantially measurable black audience emerged to respond to the commentary of black writers.
Among protestor poets during slavery, scholars debate about the extent to which Phillis Wheatley, the first published African American poet (publishing in the 1760s and 1770s), should be included in that category. It is true that “On Being Brought from Africa to America” seems to praise whites for “freeing” Wheatley from Africa more than questioning their right to have bodily removed her in the first place (“‘Twas mercy brought me from my Pagan land”).1 However, “On the Death of General Wooster” and “To Samson Occom” can be read to show that Wheatley was not thoroughly duped by the superficial kindnesses that covered over the fact of her enslavement. She remarks in the poem about General Wooster: “But how, presumptuous shall we hope to find/ Divine acceptance with th’ Almighty mind—/ While yet (O deed ungenerous!) they disgrace/ And hold in bondage Afric’s blameless race?”2 Such sentiments make clear that Wheatley was not content with slavery. Also, she did not hesitate to depart the premises on which she was enslaved as soon as she was granted permission to do so.
More prominent in the poetic protest vein during slavery is George Moses Horton. Enslaved in Pittsboro, North Carolina, a short distance from the University of North Carolina at Chapel Hill, Horton used his trips to Chapel Hill to sell produce to forge relationships with students at the University. He offered to compose poems for them—although he could not yet write—and recited them on return Saturday outings to Chapel Hill. A professor’s wife, Caroline Lee Whiting Hentz, learned of Horton’s talent and taught him the rudiments of writing. By the time he published his second volume of poetry in 1845, he was skilled in the art. His first volume,
