Politics and arts share a rich, yet startling history. One can confidently validate the preceding sentiment through an in-depth exploration of various forms of arts since the medieval time to the present: emphasis on literature and poetry. Most of the pieces written often demonstrate passive reactions to the sociopolitical environment (the status quo) (Beasley 60). Ngara (25) affirms such a perspective when he claims that art is a form of political expression. According to him, any activity that stresses freedom is radically political. This argument is grounded on the fact that art is inherently political due to its free form and its pursuance of freedom. The ancient Greek philosopher Plato offers a different opinion regarding the political nature of art. He claimed that poets could not be part of his Republic since they had the potential to depict lies as truth (Woodman 34). From both arguments, it is apparent that art and politics go hand-in-hand. In light of this argument, the present paper explores the way Antiogne, Learning to Love America, A Supermarket in California, I, Too, One Song, America and Before I Go represent passive rebellion and conformity are expressed through political art pieces.
For now, it suffices to claim that politics offers a social avenue through which an individual, a group, or an organization expresses his/her/its position on matters of public concern. Such a definition decouples politics from the concept of public governance. This broad perspective is quite relevant considering the fact that politics occurs in almost all levels of the society (Woodman, West, and West 2). On the other hand, conformity and rebellion represent the society’s reaction to the expressed position. For the sake of this argument, the reader is urged to reflect on the Black Movement prior to the Emancipation period. One can note that the African Americans were expressing their disdain of the political environment addressing it as ‘the peculiar institution’.
Various artists (mainly playwrights and poets) including Sophocles, Walt Whitman, Shakespeare, Emma Lazarus, and Phillis Wheatley have incorporated politics in their works in pursuit of public discourse. The main theme in all of their works indicates class struggle. Shakespeare’s plays represented the struggle of the lower casts such as in Othello; Walt Whitman’s majority of works was on slavery and depicted his abolitionist views. On the other hand, many politicians Lazarus’ works have quoted and interpreted in defense and in opposition of racism and anti-slavery. One of the most recent examples could that of James Comey, former director of FBI, who used one of Lazarus’ poem lines to justify Donald Trump’s comment of African countries (Hunter). When viewed from this point, art is an effective tool for passive conformity or rebellion. Why call it passive? The pretentious, elitist, and dynamic use of language in such pieces often separate them from other tools of political discourse (Micale, Mark, and Porter 48). Phillis Wheatley’s On Being Brought from Africa to America is quite illustrious at this point. In a rather spiritual tone, the poet seems to be advocating for the abduction of Africans for slavery (Wheatley 435). The poem might confuse some people owing to its support for slavery of Africans but a closer look would prove otherwise. The poet found it fortunate to be taken to America from her “pagan land” because in that way, the Africans had the opportunity to voice their opinion. As evident from the last lines of the poem, “Remember, Christians, Negroes, black as Cain, May be refin’d, and join th’ angelic train”, the poet tried to convey the equal ability of the Blacks to be educated and spiritual as are the Christians. A similar view is expressed by Langston Hughes’ I, Too. He expresses an optimistic view of his future despite his present predicament as a slave in America. He demonstrates positivity in face of adversity when he says that he laughs and eats well even when he is asked to eat in the kitchen. He demonstrates optimism stating that one day he will also “be at the table when company comes”. Elements of rebellion are evident when he claims that even though he is forced to eat in the kitchen, he does so with gladness because he knows that the situation would change (Hughes 3). Note that their sociopolitical environment inspired both poets during the creation of the pieces.
The role of art in politics goes beyond the promotion of conformity. Sophocles’ Antigone is exemplary. First, it should be understood that this play was written during the ancient Greek period. Dictatorship was the status quo during this era: the king’s demands always prevailed. Sophocles’ main protagonist ‘Antigone’ disregards Creon’s order regarding the burial of her brother Polynices: he is not to be buried due to treason (Sophocles and Woodruff 4). Sophocles utilizes Antigone’s rebellious act to initiate a passive rebellion on the status quo. Antigone challenges the government on many occasions as evident from her refusal to bury her brother on King’s order. Her rebellious attitude stuns the people in the kingdom because their society could not even think of going against the government during that time. It would be justified to assert that Sophocles’ intention is to engage his audience in a discussion regarding the need for rebellion in the absence of justice. The idea to have a female hero who rebels against the government is in itself rebellious because in that era, even men did not dare oppose the government. Wystan Hugh Auden’s The Unknown Citizen is an equally radical piece that utilizes satire and vivid imagery to challenge his audience into action. From his poem, it is evident that he has little or no regard of the average life. According to him, it is a life based on social conformity: he describes an unknown citizen who fails to experience true freedom and happiness by living in accordance with the social rules (Auden 38). It appears wise to add that this piece was written in the post-war period: during the emergence of the widely publicized “American Dream”. This explains why the unknown citizen works tirelessly to attain the acceptable social status at the expense of his will and happiness. Like Sophocles’ piece, The Unknown Citizen demonstrates passive rebellion. The piece satirically rebels against the American system where humans are reduced to some alphanumeric symbols as the sub-title of the poem suggests – “To JS/07/M/378/, This Marble Monument Is Erected By The State” (Auden).
Conclusion
Art is a free space through which creative individuals express their views on matters of personal and public concern. This factor has augmented the roles of various forms of arts –including poetry and literature – in the realm of politics. Playwrights, poets, and other artists since the beginning of time have utilized their art to influence their audiences’ opinions on certain political matters. Perhaps, this fact explains why even a great thinker like Plato would be weary of the influence poetry has on its audience. These pieces use sophisticated styles such as imagery, symbolism, tone, and abstraction to sway their readers/listeners. The fact that art possesses this kind of power affirms the idea that it can be used to foster passive conformity and/or rebellion. On Being Brought to America and I, Too are among the various political poems that have been written to persuade the audience to accept the reality as it is. Meanwhile, The Unknown Citizen and Antigone are sophisticated pieces that advocate for rebellion against the status quo. Regardless of the position the artists assume, it is apparent that art and politics go hand-in-hand. After all, most if, not all political pieces are inspired by the artists’ sociopolitical environment.
Auden, W. H. “The unknown citizen.”The Hedgehog Review 10(3) (2008): 38-40.
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Candida-Smith, Richard. Utopia and dissent: Art, poetry, and politics in California. California, USA: University of California Press, 1996.
Hughes, Langston. The collected poems of Langston Hughes. New York, USA: Vintage, 2010.
Hunter, Walt. “The Story Behind The Poem On The Statue Of Liberty”. The Atlantic, 2018, https://www.theatlantic.com/entertainment/archive/2018/01/the-story-behind-the-poem-on-the-statue-of-liberty/550553/. Accessed 14 Dec 2018.
Micale, Mark S., and Roy Porter. Approaching hysteria: Disease and its interpretations. Princeton, NJ: Princeton University Press, 1995.
Ngara, Emmanuel. Art and ideology in the African novel: A study of the influence of Marxism on African writing. Portsmouth, New Hampshire: Heinemann Educational Publishers, 1985.
Sophocles and Paul Woodruff. Antigone. Indianapolis: Hackett Pub. Co, 2001.
Wheatley, Phillis. “On being brought from Africa to America.”The Open Anthology of Earlier American Literature (1773): 435.
Woodman, Tony, David Alexander West, and David West. Poetry and Politics in the Age of Augustus. Cambridge, UK: CUP Archive, 1984.
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