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Afaka syllabary

From Wikipedia, the free encyclopedia
Script for the Ndyuka creole of Suriname
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Afaka
Script type
Syllabary
CreatorAfáka Atumisi
Period
Invented 1910
DirectionVaries
LanguagesNdyuka
ISO 15924
ISO 15924Afak(439), ​Afaka

TheAfaka script (afaka sikifi) is asyllabary of 56 letters devised in 1910 for theNdyuka language, an English-basedcreole ofSuriname. The script is named after its inventor, Afáka Atumisi. It continues to be used to write Ndyuka in the 21st century, but the literacy rate in the language for all scripts is under 10%.[citation needed]

Afaka is the only script in use that was designed specifically for a creole.

Typology

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The syllabary as recorded by Gonggrijp in 1968. All letters may include a final nasal(a foran, ba forban, etc.), and the rows forb,d,dy, andg may also stand formb,nd,ndy, andng. They row is placed betweeng andk because it was originally transcribed with Dutchj. The dot inside the loop ofnya may be an error due to confusion with similarly shapedbe.

Afaka is adefective script.Tone isphonemic but not written. Final consonants (the nasal [n]) are not written, but long vowels are, by adding a vowel letter.Prenasalized stops andvoiced stops are written with the same letters, and syllables with the vowels [u] and [o] are seldom distinguished: The syllables [o]/[u], [po]/[pu], and [to]/[tu] have separate letters, but syllables starting with the consonants [b, d, dy, f, g, l, m, n, s, y] do not. Thus the Afaka rendition ofNdyuka could also be read asDyoka. In four cases syllables with [e] and [i] are not distinguished (after the consonants [l, m, s, w]); a single letter is used for both [ba] and [pa], and another for both [u] and [ku]. Several consonants have only one glyph assigned to them. These are [ty], which only has a glyph for [tya]; [kw] (also [kp]), which only has [kwa ~ kpa]; [ny], which only has [nya] (though older records report that letter pulled double duty for [nyu]); and [dy], which only has [dyu/dyo]. There are no glyphs assigned specifically to the consonant [gw] ~ [gb]. The result of these conflations is that the only syllables for which there is no ambiguity (except for tone) are those beginning with the consonant [t].

There is a single punctuation mark, thepipe or|, which corresponds to acomma or aperiod. Afaka initially usedspaces between words, but not all writers have continued to do so.

Etymology

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The origins of many of the letters are obscure, though several appear to beacrophonicrebuses, with many of these being symbols from Africa.[1] Examples of rebuses include a curl with a dot in it representing ababy in thebelly (in Ndyuka,a abi beli, lit. "she has belly", means "she's pregnant"), which stands for [be]; two hands outstretched togive (Ndyukagi) stand for [gi]; iconic symbols forcome (Ndyukakon) andgo to represent [ko] or [kon] and [go]; two linked circles forwe stand for [wi], while [yu] is an inversion of [mi], corresponding to the pronounsyou andme; letters like Roman numeralstwo andfour are [tu] and [fo]. (which would be like writing "2 4get" for 'to forget' in English.) [ka] and [pi] are said to represent feces (Ndyukakaka) and urine (pisi). A "+" sign stands for [ne] or [nen], from the wordname (Ndyukanen), derived from the practice of signing one's name with anX. The odd conflation of [u] and [ku] is due to the letter being a pair of hooks, which isuku in Ndyuka.[2] The only letters which appear to correspond to theLatin alphabet are the vowelsa,o, and maybee, thougho is justified as the shape of the mouth when pronouncing it.[3]

Variants and syllabic order

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Texts in Afaka's own hand show significant variation in the letters. A good number are rotated a quarter turn, and sometimes inverted as well; these arebe,di,dyo,fi,ga,ge,ye,ni,nya,pu,se,so,te, andtu, whilelo,ba/pa, andwa may be in mirror-image andsa,to may be simply inverted.Others have curved vs angular variants:do,fa,ge,go,ko, andkwa. In yet others, the variants appear to reflect differences in stroke order.

The traditional mnemonic order (alphabetic order) may partially reflect the origins of some of the signs. For example,tu andfo ("two" and "four", respectively),yu andmi ("you" and "me"), andko andgo ("come" and "go") are placed near each other. Other syllables are placed near each other to spell out words:futu ("foot"),odi ("hello"), andati ("heart"), or even phrases:a moke un taki ("it gives us speech"),masa gado te baka ben ye ("Lord God, that the white/black(?) man heard").

Three orders of the Afaka syllabary as recorded in thePatili Molosi Buku,c. 1917. The traditional order is at top. Letters which retain a final nasal may reflect their origin, such asne(m) from "name" andko(m) from "come". The mid order differs in moving row 5 and the syllablea to the beginning. Most significantallographs can be seen in comparing these two syllabaries, with some letters rotated and others more angular in the mid syllabary. The bottom order is arranged top-to-bottom according to the Dutch alphabetic order, reflecting the Dutch spellingsj andoe for modern Ndyukay andu, respectively.
The syllabary as recorded in 1920. The order is the original except thata comes first. There are three errors:kwa is missing;te(n) in column 4 was writtenti(ng), thoughti appears again in column 6; anddi in column 6 was transcribedba, though it duplicatesdi in column 5. (Ba/pa in column 5 had only been transcribed aspa. It should also be closed at the bottom; perhaps this is an inking error.) Also, accounts from the second half of the 20th century no longer givenyu as an alternate reading ofnya.

Computer encoding

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The Afaka script has been proposed for inclusion in theUnicode Standard.[4] The codepoints U+16C80 through U+16CCF have been tentatively designated for the script.[5]

Sample text

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This is apparently the first letter written by Afaka. It was copied into thePatili Molosi Bukuc. 1917.

kee mi gadu. mi masaa. mi bigin na ini a wowtu [⟨ulotu⟩].

fu a pampila di yu be gi afaka. ma mi de
anga siki fu dede. fa mi sa du. oli wowtu. mi go
na pamalibo na lanti ati oso. tu boo [⟨bolo⟩]. di mi ná abi
moni. den yaki mi. den taki mi mu oloko moni fosi.
mi sa go na ati osu. da(n) na dati mi e begi. masaa
gadu fu a sa gi mi ana. fu mi deesi. a
siki fu mi. ma mi sa taki abena. a sa kon tyai [⟨tyali⟩]
paati [⟨patili⟩] go na ndyuka. e(n)ke fa paati taki a bun
gi wi. ma mi de anga pen na mi ede. ala
mi nosu poli na ini. da(n) mi ná abi
losutu ye.

Oh my God, my Lord, I start with the words on the paper that you've given Afaka. But I'm deathly ill. How can I say it? I went toParamaribo, Lands Hospital, two times. Because I have no money, they chased me away. They say I must first earn money [before] I go to the Hospital. Therefore I pray to the Lord God that he will give me a hand with the medicine for my illness. But I will talk to Abena. He will bring this to the Priest of the Ndyuka. So as the Father says it is good for us. But I have pain in my head. All my nose is rotting from the inside. So I have no rest, I tell you.

Notes

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  1. ^"Now here is the mystery: thirty-four of Afaka's signs are found in the script of the Vai tribe of Liberia." V.S. Naipaul, The Middle Passage (1962), p. 204 (Penguin ed.).
  2. ^In fact, Dubelaar andPakosie imply that this letter also stands for [uku], making it alogogram.
  3. ^E, which resembles a capital Latin letterM, may be acrophonic for the name of the letter "em".
  4. ^Everson, Michael (2012-07-17)."N4292: Revised proposal for encoding the Afáka script in the SMP of the UCS"(PDF). Working Group Document, ISO/IEC JTC1/SC2/WG2 and UTC. Retrieved2016-01-23.
  5. ^"Roadmap to the SMP".Unicode Consortium. 5 November 2021. Retrieved26 February 2022.

References

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  • Dubelaar, Cornelis & André Pakosie,Het Afakaschrift van de Tapanahoni rivier in Suriname. Utrecht 1999.ISBN 90-5538-032-6.
  • Gonggryp, J. W. 1960. The Evolution of a Djuka-Script in Surinam.Nieuwe West-Indische Gids 40:63-72.
  • Huttar, George. 1987. The Afaka script: an indigenous creole syllabary. InThe Thirteenth LACUS Forum, pp. 167–177.
  • Huttar, George. 1992. Afaka and his creole syllabary: the social context of a writing system.Language in Context: essays for Robert E. Longacre, ed. by Shin Ja Hwang and William Merrifield, pp. 593–604. Dallas: SIL and University of Texas at Arlington.

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