Chicano poetry is a subgenre of Chicano literature that stems from the cultural consciousness developed in the Chicano Movement. Chicano poetry has its roots in the reclamation of Chicana/o as an identity of empowerment rather than denigration. As a literary field, Chicano poetry emerged in the 1960s and formed its own independent literary current and voice.

The Chicano Movement inspired the development of a poetic current among the Mexican Americans who embraced Chicana/o identity. Chicanos and Chicanas both addressed marginalization, racism and vanquished dreams in the United States. Many Chicana/o poets retold the history of Mexican Americans that differed from the dominant narrative of mainstream Anglo-Americans. The surge of creative literary activity among Chicana/o authors in the 1960s and 1970s became known as the Florecimiento, or Renaissance.

Chicano poets focused on the effects of racism on the Chicana/o community and the perseverance of Chicanos to maintain their cultural, political, and social identity. Nephtalí De León was one early pioneer, writing a poetry book Chicanos in the early 1960s as well as the poems "Hey, Mr. President, Man!," "Coca Cola Dream," and "Chicano Popcorn."

Chicano poets reframed the Pachuco figure of the 1940s, who was historically looked down upon by the Mexican American community. One of the most notable poems to do this was “El Louie” by José Montoya. For Chicano poets, this was true to a lesser extent for the Pachuca figure, who was embraced mainly as a lover to the Pachuco.

Abelardo "Lalo" Delgado's poem "Stupid America" written in the 1960s discussed the poor treatment of Chicanos and their erasure as artists, poets, and visionaries who are not permitted by the American mainstream to reach their potential. Rodolfo "Corky" Gonzales' poem "Yo Soy Joaquin" was widely influential, being adapted into a 1969 film by Luis Valdez of the same name. The poem reviewed the exploitation of the Chicano:

Chicana poets challenged the role of women in the community through their poetry and spoke to a variety of issues. Chicana feminist poets used poetry to express their views of aggressive masculine pride or machismo, which had excluded them from the movement. This included the poem "Machismo Is Part of Our Culture" by Marcela Christine Lucero-Trujillo.

In the interwar period, unmarried Mexican American women were often mandated by their families to be accompanied by a male when going out, who would watch over them throughout the night. A woman's purity was linked to the family's reputation and a chaperone was sent to watch on their daughter's activities. Women sought freedom yet also sought to be good daughters to their families. Chicana feminist poets addressed this in their work, such as "Pueblo, 1950" (1976) by Bernice Zamora, who discussed the consequences young, unmarried, Mexican-American women would face from a simple kiss:

Chicana poet Inés Hernández-Ávila valorized the Pachuca in her poem "Para Teresa." Other poets who reframed the Pachuca figure were Alurista, José Montoya, and raúlrsalinas. Poems the reframed the Pachuca also included “Los Corts (5 voices)” and “and when I dream dreams” by Carmen Tafolla, and “Later, She Met Joyce” by Cherríe Moraga.