Leading black British poets including Linton Kwesi Johnson, Grace Nichols and Raymond Antrobus share their thoughts on protest, change and the trailblazers who inspired them. Introduction by Kadish Morris

Performance poetry revolutionised me. When I was 13, my mother invited me to a group called Leeds Young Authors, which she co-ran with founder and poet Khadijah Ibrahiim. Together, along with visiting poets, they ran writing workshops for teenagers. The selling point was that I would get the chance to travel to the US to compete in a poetry slam festival, but the excitement of getting on an aeroplane was soon overshadowed by what I can only describe as enlightenment. Poems performed at the festival taught me about police brutality, gentrification and climate change before I even owned a computer. Performance poetry immersed me in a world of critical thinking, but also, a community of black poets. I shared stages, shook hands and was taught by some of the greatest black British and African American poets before the age of 20. From Sonia Sanchez to Saul Williams to Lemn Sissay and Jackie Kay.

Black British history and literature are intrinsically connected. Poems such as Linton Kwesi Johnson’s Five Nights of Bleeding explored the 1981 Brixton riots, while Benjamin Zephaniah’s The Death of Joy Gardner lamented on the killing of a Jamaican student who died in 1993 after being detained during a police immigration raid at her home. Literature was a forum for idea-sharing, community-building and support too. The Caribbean Artists Movement, founded by Barbadian poet Kamau Brathwaite, Trinidadian publisher John La Rose and Panamanian-Jamaican writer Andrew Salkey in London in 1966, set about promoting the work of marginalised Caribbean artists, writers and poets. More than 50 years later, black writers are yet to be fully absorbed into the mainstream. A 2018 study found that only 7% of work published in poetry journals were by people from BAME backgrounds. Black voices have often felt like guests in UK literature, despite being routinely summoned during political events. “No one leaves home unless / home is the mouth of a shark” – a line from Home by the British-Somali poet Warsan Shire – was a prominent slogan of the migrant crisis in 2015.