How Art Gives Youth a Voice in Politics

Source: Ash Center for Democratic Governance and Innovation

In a world of constant information overload and unreliable political leaders, it feels like there’s bad news every minute; news of war, climate change, shootings, and even foodborne illnesses is everywhere, all the time. While adults try to juggle processing the news along with their personal lives, they sometimes forget that today’s youth are just as concerned with the politics overtaking every aspect of the world. The inability to legally vote also heightens feelings of powerlessness, feeling left at the mercy of adults who don’t take them into consideration making decisions that drastically impact their lives, their futures, and the world at large. In such confusing and chaotic times, many turn to art as an escape. However, though some may not realize it, the arts also exist as a way to process and understand politics, especially for kids and teens who are still gaining an understanding of the world and their place within it.

Jaz Sufi performing at the 2015 National Poetry Slam in Oakland

Jaz Sufi, a writer and one of Bay Area Creative’s teaching artists, discussed her experience observing this phenomena through conducting spoken word and performance poetry workshops with students, especially those in the elementary level, in detail. In her experience, politics is often an easy subject to broach with students since many are receptive to discussing, and “it’s so easy to get them to talk about things that matter to them… Our society has such a bias against kids speaking their truths, even if that truth is inconvenient to adults, and if you just give them an opportunity to talk about the things in their life and in the world that they’ve been thinking about, a lot of the time they’ll jump on that opportunity.”

“[Kids] have a lot more awareness than I think most adults realize” 

Allowing students a space to process and share their complex feelings on politics is crucial, given that these spaces are not often available to them. Sufi also explained how the ways in which students process these feelings through art varies at different grade levels. For example, students in the middle and high school levels have a better grasp of concepts like irony and will often use humor as a way to cope with stressful situations, and in some cases this manifests in their art as well. Elementary schoolers, by contrast, are still gaining a more rudimentary understanding of the world and often have less of a filter as a result. What results are works that are extremely raw and authentic, essentially “ just… vomiting up their dissatisfaction with the world as it is”, allowing for a powerful insight into their unfiltered emotions. 

These kids seem to have good reason to be so fired up; after all, for many of them these topics are not merely news stories, but their everyday lives. In Sufi’s words, “None of these things are considered ‘kid topics’, but because our identities are political, the kids are gonna be thinking about them”. She cites examples of students she has worked with in the past who have written and performed poems talking about their own experiences with politics based on different aspects of their identities, many voicing their dissatisfaction with the current political system and highlighting its shortcomings both historically and in the present. Even at the elementary school level, it’s clear that for students who feel an aspect of their identity (or that of a family member) is at risk in the current political climate, these topics are extremely pertinent, and it’s no surprise that themes of dissatisfaction with the current system arise within their art. Sufi holds firm in the idea that the concept of apolitical art, or art entirely devoid of any political meaning, is nonexistent; “All art is political… at the very base level, all art is informed by the identity of the person making it, and none of us have a non-political identity.”

Autumn Rhythm: Number 30, 1950 by prominent abstract expressionist painter Jackson Pollock Source: Metropolitan Museum of Art

Sufi’s words ring extremely true; throughout history, even artistic movements that may seem apolitical on the surface have in fact been deeply informed by the political landscape they were created in. Romantic poetry of the 18th century, with its focus on nature, was really an attempt to push back against the Industrial Revolution; the works of early abstract artists, despite not having any immediately discernable subject, reflected a growing dissatisfaction with the rigid pre-established structure and rules imposed by society. Even an express desire by an artist to remain apolitical is in itself a political statement, inadvertently acknowledging the current political landscape through a desire to look away and “stay out of it”. However, as Sufi reminds us, when identities are politicized, such a separation is impossible; politics bleeds into everyday life, whether they want it to or not. She stresses how the best art comes from those who approach the creative process with a full awareness of what they bring to the table, because no matter what, their unique experiences will influence their work.

“Nothing exists in a vacuum… when you’re creating art, I think the best art is created with as much awareness of what you’re bringing into it as possible”

Not only is the process of creating such art impactful for students in allowing them to express their feelings and lived experiences, Sufi also explains that another important component of this process is the act of sharing it. For example, students she works with in the San Francisco area are given opportunities to read their poetry aloud at open mic and slam poetry events which are open to the public. She discussed how these events are often cathartic experiences for the students, how “every human being hates to feel helpless… But by getting to write these poems about the world and go on stage and say them to audiences full of adults, they really feel like at least they’re making it clear that they don’t consent to the way the world is right now, and they’re making their lack of consent loud and very noticeable.” In such a chaotic political landscape, being able to actively voice their concerns in front of an audience allows them a sense of agency and a platform to share their feelings. What’s more, Sufi highlighted how these performances which are frequently attended by parents can help them gain a better understanding of their children’s concerns about the world at large, helping facilitate further discussions.

Overall, Sufi feels hopeful about these future generations and their desire to bring about change, as she sees the level of drive and determination to create a better and more just world.

“I feel like, more so than in previous generations, there are kids these days who are looking at the world and are just like, ‘no, absolutely not, this is not what I want to inherit’” 

What’s important to remember is that everyone’s voice, and by extension everyone’s art, is influenced by their own unique experiences and the intersection of their various identities, and that creating spaces where it can be cultivated and shared is the first step in allowing for a world where everyone is able to be heard.

Artist Spotlight: Briana Leung

“Poetry is whatever you want it to be, it’s a reflection of you.”

In one of Bay Area Creative’s many poetry programs, Briana Leung’s affinity for poetry was discovered and cultivated, leading them to later teach the same programs years later. Briana's poetry influences their students, inspirits their audiences, and inspires poets everywhere.

In fifth grade, 10 year-old Briana joined the afterschool poetry club that was led by Bay Area Creative. They spent the rest of middle school in the club, writing and performing poetry for the club while also becoming an acclaimed poet in the process. At just 14 years-old, their most memorable moment in their career was at the Brave New Voices’ National Youth Poetry Slam representing the entire Bay Area. Very swiftly after graduating high school and entering college at University of San Francisco, Briana was offered a teaching artist position at Bay Area Creative. They accepted the position, stating: "I’ve always wanted to be an educator in some shape, way or form– I didn't know it was going to be poetry”. Briana’s transition into teaching was smooth, using what they remembered from their own workshops to better understand how to teach each student. The more they taught poetry, the more they saw the power in teaching this subject that is often undervalued. Briana’s relationship with poetry became more complex, understanding the ways in which poetry dissects one’s identity and its relation to the rest of the world. 

“Writing as a vehicle for healing and self-expression– it’s always there for you even if no one sees it.”

Briana’s workshops on poetry include teaching students this same understanding of poetry as a way for the medium to become a healthy coping mechanism. Of the lessons they teach, they want to help their students understand and answer one important question: "how is art used to generate social change?”. Briana sees it as a lesson that can only be taught through example, being their own poetry and the subjects they write about. As they wrote more poetry with Bay Area Creative, Briana began to see how poetry could be used to write about more serious, socially critical topics leading them to pursuing poetry more intensely. Briana’s own identity is what they often write about, being ethnically mixed as a Chinese, Black, and Mexican individual who is also queer. In their own words, they are “someone who occupies different social locations”. Through writing and performing poetry, Briana feels as though they can explore not just their identity but their ancestry and heritage. 

“You can move in a really fluid way in between places, timelines, perspectives.”

Briana’s career in poetry has been consistent in its connection to Bay Area Creative, from fifth grade into young adulthood. Now having graduated from university and developed their experience as a teacher, Briana wants to continue to grow Bay Area Creative and reach more schools across California. They continue to develop as a poet and teaching artist, performing at slam open mics just as well as working in classes and clubs. 

“[Poetry] is always there for you, you don't have to be in a poetry class, you don't have to be in a club. If you're just feeling like you have something to say and crumple it up and throw it away, that’s okay.”

Artist Spotlight: PG Williams

Shortly after graduating university, PG “Papi Grande” Williams changed careers from sales to slam poetry, becoming known and loved through the Bay Area poetry scene. Through this change, he was able to continue performing at slam poetry nights, attend poetry festivals throughout the US, become a teaching artist with Bay Area Creative, and even publish his own poetry book. 

“Life is what you make it.”

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PG’s first poetry performance was not as an adult but in the seventh grade, reading out a love poem he had written to his class. It’s a feeling he never forgot, how everyone reacted to his poem, moved by his writing. From there, he started and continued to write poetry just for himself but soon realized he wanted to share his art with others as a career. His dedication became clear in how he spent every day of the week performing at any open mic he could find in the Bay Area. Through this passion and tenacity, PG began to cement his career and presence in the local poetry community. With more performance rose more opportunity; he met mentors, peers, and friends alike all further integrating him into the community. One of the most memorable moments being his team performance at the 2023 Bigfoot Poetry Festival where he took home 3rd place within his first year in poetry. Particularly, PG’s weekly performances at the Berkeley Slam led him to becoming a teaching artist at Bay Area Creative, where he furthered both his career in poetry and education.

“[Kids] teach you so much with just them being themselves”

As a teaching artist, PG emphasizes how it’s not just him teaching his students but how they teach him new things everyday. Of what he’s learned and implemented into his teaching, he’s understood the most important part of teaching is showing up as yourself. By being authentic in the classroom, he’s teaching his students to be authentic in their writing and everyday lives. In being themselves, PG’s students can be more reflective of their true selves and grow. It’s not just being authentic that PG teaches through poetry but other important skills. Through performing their poetry in front of the class, he teaches them how to be comfortable with public speaking in crowds. PG wants his students to get a headstart in their lives, to learn skills that’ll be important for everyday life. He truly believes that as long as his students work at their passions, then naturally opportunities will arrive for them. The way PG teaches poetry extends to skills and lessons outside of the classroom, he endeavors to change their lives for the better. 

In his own poetry, PG does not limit himself to specific messages or meanings. He says that each poem of his has a different intention, tone, and inspiration. To list a fraction of the topics in his poetry, he’s written the importance of treating others with kindness, being intentional with our words, and how every single one of our lives matter. For spoken word poetry PG states how having an important matter to address is “one of the beginning pillars of an excellent slam piece for me”. It’s described as a prerequisite, that his slam poetry must have an issue or topic that he feels particularly “needs to be addressed or changed”. In contrast, poetry he does not intend to perform can be any thought or emotions that he felt the need to write. Whether he is writing slam poetry or poetry just on the page, PG is writing with intent and authenticity. 

“Your energy is important and you matter in life.”

In the seventh grade, PG wrote his first poetry book for English class– a small chapbook filled with roughly 8 poems that he still has to this day. Now, he’s published his first poetry book Theme Of Identity– Off The Stage in 2025 where he delves into his own mind and makes art of it. PG’s poetry has moved his classmates in the past, the thousands in his audience, and the students he teaches. Whether he was sharing it or not, poetry has always been an integral part of who PG is and will continue to be so.