Read the passage to answer the question:
If the 1950s was a sparse period for Black poetry, the 1960s more than compensated for it; during the 1960s, Black poets appeared all over the United States. By the end of the decade not only had poetic giants such as Melvin Tolson, LeRoi Jones, Gwendolyn Brooks, Robert Hayden, and Langston Hughes reappeared with new volumes of poetry, but also at least five anthologies of Black poetry were published. Some of the new Black poets made their debuts in the anthologies. Others were first published in Harlem's new avant-garde literary publication, Umbra. As the decade drew to a close, the "Broadside Press" poets appeared through Dudley Randall's series of Broadside Press editions and in Hoyt Fuller's Negro Digest, which was later known as Black World. These poets brought with them new poetic concepts, a new aesthetic, and a strong awareness of the Black ghetto experience.
Like the spirituals and the secular songs of slavery, the new Black poetry burst forth out of a time of racial turmoil. The catalyst for creativity was a series of events beginning with the Montgomery bus boycott and encompassing the nonviolent sit-in demonstrations of the early 1960s and big-city riots of the mid-1960s. Behind the poets and their songs of bitter protest against racism in America, were the bombings, the assassinations, the burning ghettos, the screaming sirens, the violent confrontations, and the cruel awareness of spreading Black poverty amid white affluence.
The most forthrightly militant representatives of the new Black mood in poetry were the Broadside Press poets, so called because their poems are social, political, and moral broadsides protesting against the body politic and the establishment. Before the Broadside Press poets emerged as a definable literary group, other poets had written protest poetry in the early 1960s that was caustic, bitter, and at times mordantly cynical. But the poetry became more than bitter militant protest. Under the leadership of LeRoi Jones and others, there developed a Black aesthetic that, in one measure, prescribed the guidelines for Black poetic militancy. Under the racial pressures of the late 1950s and early 1960s, Jones himself had undergone a metamorphosis, moving from an avant-garde aestheticism to a Black nationalism-activism.
In the process, he abandoned his "slave" name and became ImamuAmiri Baraka. He also moved out of the deep melancholy and pessimism that permeate many of his earlier poems. His "Black Art" indicates that his pessimism was replaced by a vigilant and militant activism. Indeed, "Black Art" announces the credo of the new Black aesthetic - that the direct objective of all Black artistic expression is to achieve social change and moral and political revolution. Poems, Jones asserts, should be "fists and daggers and pistols to clean up the sordid Blackworld for virtue and love."
It can be inferred from the passage that the Broadside Press poets believed that poetry primarily should be: