Reflections from Honduras – Akley Olton on the Power of Cinema to Safeguard Indigenous Culture

Returning to Honduras: A Filmmaker's Journey with Cine desde Nuestros Pueblos

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Returning to Honduras to once again contribute to Cine desde Nuestros Pueblos has been a profound and humbling experience. As a Vincentian filmmaker, being invited for a fourth time to collaborate on this initiative is both an honor and a responsibility. I carry with me not only the stories of my people from St. Vincent and the Grenadines but also a deep commitment to strengthening the bonds across our shared Caribbean and Central American heritage—especially with the Garifuna community. Their legacy spans our shores and histories.

A Journey of Cultural Exchange

This year’s workshop, organized by Mr. William Reyes of OPIDA in partnership with the Instituto de Cine Honduras, was held in the beautiful coastal town of Tela, Atlántida. It brought together Indigenous Lenca, Miskito, and Garifuna youth and cultural workers. All were eager to explore how film can become a tool of resistance, preservation, and expression.

Witnessing their enthusiasm and creativity, I felt the power of cinema not just as entertainment but also as a vehicle for safeguarding identity. There’s something powerful about teaching cinematic language to communities whose stories have historically been silenced. The camera becomes more than a lens—it becomes a mirror, a shield, and sometimes a weapon against cultural erasure. To equip these communities with tools to tell their own stories contributes to the intergenerational transmission of knowledge, memory, and truth.

Personal Connections

As a Vincentian working closely with the Garifuna people—descendants of the Black Caribs exiled from my homeland—it feels deeply personal. In many ways, these workshops are acts of reconnection. They are about healing old wounds, rekindling our shared heritage, and imagining a future where we unite as one Kalinago-Garifuna-Vincentian nation.

During the workshop, I had the joy of reuniting with my dear friend and colleague, Eivis Caj, a Maya filmmaker from Guatemala. His presence reminded me of the rich diversity and interconnectedness of our Indigenous experiences across the Latin American and Caribbean region. Together, as tutors, we sought not to impose visions but to encourage local filmmakers to trust their own voices and perspectives.

The Roots of Culture

Honduran society, like many in Central America, remains close to its Indigenous roots in visible ways—through museums, public art, folklore souvenirs, and community celebrations. However, beneath this surface lies an urgent reality. While Punta music has found its way into mainstream pop culture, the soul of the tradition within the Garifuna communities is under constant threat.

The pressures of mining, monocrop farming, tourism, global capital, fast food franchises, and consumer culture act as seductive forces, steadily replacing traditional ways of life. The struggle to sustain their identity continues, and it is crucial to advocate for these communities to preserve their heritage.

A Slow Resistance Through Cinema

And yet, cinema gives us an opportunity to slow things down. To observe. To reflect. To remember. Through film, we can archive what is slipping away and perhaps inspire younger generations to rediscover pride in what was once dismissed or forgotten. It is a slow resistance—but a powerful one.

In this spirit, I am always ready to answer the call. These workshops are not just projects—they are part of a lifelong commitment. I am also in the early stages of developing a film exploring the Garifuna experience, interweaving it with Vincentian memory. I hope this work builds a bridge between our communities, not just in narrative but in heart and purpose.

Gratitude for Collaboration

So, to OPIDA, the Instituto de Cine Honduras, and all the passionate participants who shared space and vision with me—thank you. It is through these collaborations that we keep the fire burning. Together, we can empower our communities and foster a future where our stories take center stage, ensuring they are heard and celebrated.

— Akley Olton

Filmmaker & Cultural Worker

St. Vincent and the Grenadines