In describing specialized readings about the discovery of a “Ndyuka script” in the last century, the article seeks to analyze procedures that provide context and assumptions of continuity that limits our understanding of the use of Afaka signs in the works of Maroon artists, in particular, of Marcel Pinas as well as young people in Moengo (Suriname). If, for the specialists, the invention of a script was the result of contact of literate Ndyukas with Christianity, new uses of the Afaka have left behind the notebooks and these attempts of translation. In the Cottica landscape and the current forms of art expression, a variety of the uses of Afaka signs have gained new colors and spatial dimensions, and are associated to the modes of existence of Cottica Ndyuka in the region in the post–civil war (1986–1992). [Maroons, Cottica Ndyuka, Suriname, Escrita, Art, Caribbean, Afaka]

中文翻译：

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Escrevendo e提出与众不同：Os Maroon Ndyuka和非科蒂卡艺术的运用（苏里南）

在描述有关上个世纪发现“ Ndyuka脚本”的专业读物时，本文旨在分析提供上下文和连续性假设的程序，这些程序和条件限制了我们对栗色艺术家作品中使用Afaka标志的理解，特别是，马塞尔·皮纳斯（Marcel Pinas）以及穆恩戈（苏里南）的年轻人。如果对专家而言，脚本的发明是有文化的Ndyukas与基督教的接触的结果，那么阿法卡语的新用途就被抛在了笔记本底下，而这些翻译尝试都没有了。在科蒂卡景观和当前的艺术表现形式中，阿法卡标志的多种用途获得了新的色彩和空间尺寸，并与内战后该地区的科蒂卡Ndyuka的生存方式有关。 –1992年）。[栗色，科蒂卡Ndyuka，苏里南，