Diaz questions notions of passport – who has a “pass,” when Django audiences are at the same time questioning Tarantino’s passport (who stamped it?) in regards to his use of “nigger” in Django and his other films. I’ll defer to more prominent critics for an in-depth discussion of what proximity and privilege culminated in using nigger expressively in their respective art genres. I’ll simply post a question that formed in my mind from this short video: In what ways do we apply for and issue passports in our daily lives? In relation to art, education, blackness, identity?
Even in attempting to abstract blackness, are creatives, politicians, scholars, gangsters implied as shareholders in this “imperial blackness” mentioned in Diaz’s post show discussion? When these “passports” (real and imagined) become less expensive, the process becomes more efficient, possibly then, the bulk of us can afford to travel across the complexities of identity. Thoughts?