Hondo's cinemap is a response to and critique of the graphic representations  that typically introduced European ethnographic films on African cultures (see examples below). 

'In unmistakably cinematic terms, the maps of Africa function as frames displaying this contrast and movement through the juxtaposition of different graphically rendered realities. The map, for Frobenius, is an adequate representational form only insofar as it captures the kinematographic element, the fact that cultures can only be comprehended as constantly in motion. “Since culture is kinematographic”, Frobenius suggests, “the map must become kinematographic”.’
 Assenka Oksiloff, ‘Leo Frobenius and Kino-Vision’, in Picturing the Primitive: Visual Culture, Ethnography and Early German Cinema (New York: Palgrave, 2001), p.109.