Bernice Johnson Reagon's Civil Rights Movement freedom songs, collected and performed through SNCC and later through Sweet Honey in the Rock, demonstrate how the resistance song tradition moved from the church into the streets, transforming spirituals and gospel songs into direct tools of political mobilisation; A poet working with the resistance song tradition might write about the specific power of collective singing as a form of resistance, exploring what happens when a large group of people who might be afraid as individuals find courage through shared song; Bob Marley's "Redemption Song" is a paradigmatic resistance song in the diaspora tradition, its spare acoustic simplicity containing Marcus Garvey's words and a vision of liberation that has resonated globally; A student poet might write about the experience of singing "We Shall Overcome" in a contemporary protest context, exploring the complex emotions of using a song whose words seem both true and impossibly hopeful in the face of present conditions; The blues as resistance song is a less obvious but equally important tradition, its apparent acceptance of suffering masking a deeper insistence on endurance and survival that is itself a form of resistance against forces that intend destruction; A contemporary spoken word poet might write a resistance song about climate justice and its disproportionate impact on Black communities, working in the tradition that runs from the spirituals through freedom songs through hip hop's political lyrics to create verse that can be both read and performed in community resistance contexts