AP Government: Chap 6-Module

Composition of the Senate:

• Congress is made up two legislative houses
  
  • House of Representatives and the Senate
    
  • 100 senators, two from each state
    
  • Less than 1/4 the number of seats as the House
    
  • Senators represent a larger base of constituents than House members do
    
    • Senators must be at least 30 years of age
      
    • Must be resident of the state they're representing
      
    • Must have been US resident for at least nine years
      
    • Only 1/3 of the senate is up for reelection at a time
      
  • In the early years the senate thought they were superior to the House and they even snubbed Washington when he tried to use them for an advisory board
    
  • The House has often viewed the Senate as snobbish
    
    • House was designed to directly represent the will of the people and was therefore chosen by popular election
      
    • Senators were expected to represent the will and interest of those in power in a given state
      
    • Since the system for electing senators became corrupt, the 17th amendment was added in 1913 stating that senators shall be elected by the people through popular election
      
  • House members and senators tend to be white, male, wealthy, and have a law or business background
    
  • Congressional representation is described as substantive rather than descriptive representation
    

     
     

  Power, Committees, and Debates
  

• Power in the Senate is not as clearly defined as it is in the House, and it's more widely dispersed
  
• Constitution makes the VP the president of the Senate
  
  • The real power is held by the majority and minority leaders who dictate legislative agenda
    
  • The party whips are the senators who ensure good communication among party members and work with the party leaders to urge members to vote with the party on key issues
    
  • Committee and sub-committee chairpersons also command significant power
    
• Constitution delegates specific powers to the senate
  
  • Power gives the Senate particular authority and influence over the president and executive department
    
  • Senate has power to confirm the most important presidential appointments
    
  • "Senatorial courtesy" is the practice whereby the president before making a judicial appointment in a particular state
    
  • When a candidate has made it through senate approval a simple Senate majority is required to confirm the appointment
    
  • Also has the right to confirm treaties and try impeached officers
    
  • 2/3 votes is required for a treaty confirmation
    
• Senate committees operate similarly to the House committees
  
  • 16 standing committees
    
  • Senators try to serve on committees that will allow them to affect legislation that will impact their home state
    
• Senate is different in how it conducts business and determines legislation
  
• Senate has held itself out to be a contemplative body that is willing to spend more time discussing
  
• Senate has opened and unrestricted debate on bills
  
• Filibuster: Strategy used to lock legislation
  
  • Occurs when opponents of a proposed piece of legislation debate the topic as long as possible to prevent senate from voting
    
  • Filibuster can be deterred
    
    • Motion for cloture (vote to limit debate and end a filibuster can be entertained in the Senate
      
    • Senators voting usually vote along strict partisan lines and requires 3/5 majority to pass
      

       
       

       
       

  Route of a Bill through Congress
  

• Bill: Piece of legislation that has been proposed, but not passed
  
• Bills can come from many sources, but only the congress have the right to introduce them for consideration
  
• Only pass 5% of bills proposed
  
• Two types:
  
  • Public: affects all citizens and encompass such issues such as taxes and how government money is spent
    
  • Private: Affect small groups, individuals or places. Bills may appropriate money owed to citizens
    
• Congress passes resolutions
  
  • Uses resolutions to state opinions on matters, change the procedures of their individual bodies, and address issues within the houses
    
  • Since resolutions pertain to the house of Congress, they are not laws, and president does not have to sign them
    
  • Joint Resolution: employed to address incidental or short-term matters
    
    • Once passed by both houses of Congress, a joint resolution becomes law, so the pres doesn't need to sign it
      
  • Concurrent Resolutions: Address situations in which the houses of Congress must act together
    
    • Congress issues concurrent resolutions to state its position on matters of foreign policy
      
      • Differ from joint resolutions in that once passed they do not become laws
        
      • Pres doesn't need to sign
        
• After bills have been logged, the Speaker of the House assigns them to committees based on the nature of the bills
  
  • Matches each bill's content to a committee for consideration
    
• Assigning bills to committees can be difficult when bills have overlapping area of concern
  
• Committee assignment can be critical because the committees sort through bills and determine which ones will be considered
  
• Once in committee a bill moves to a special sub-committee for consideration
  
  • Examines the bill, holds hearings, and adds amendments
    
  • The sub-committee votes on the bill
    
  • If approved the bill returns to the full committee for final discussion and approval
    
• Rules Committee: Acts as the legislative clearinghouse
  
  • Assigns calendar date for the bill and rules that will limit how long the bill can be debated
    
  • Also decides not to assign rules for bills
    
• Then passes to the House floor
  
  • Either the House can act as a Committee of the Whole or the House can debate, amend, and put the bill to a vote
    
• Committee of the Whole: members of the House become one large committee
  
  • Accelerate the legislative process because only 100 members need to be present
    
  • When the house converts to the COTW the speaker becomes a member of the committee and a different rep. acts as the committee chair
    
  • COTW cannot pass a bill, so after the Committee finished discussion on a bill, its member disband
    
• There are several methods of voting:
  
  • Voice vote: shouting 'yea' or 'nay'
    
    • Speaker declares outcome, but votes of individuals is not recorded
      
  • Teller vote: walk between two "tellers" appointed by the Speaker
    
    • Those voting in favor of the bill go first followed by those who are opposed
      
  • When one or more members disagree with the tally from voice vote the house holds another vote by division or standing
    
  • Roll-call vote: when one 1/5 of the house is present
    
    • Members respond individually with "yea" or "nay" when their names are called -Recorded
      
• If the whole House approves a bill, the bill moves to the Senate
  
• Senate acts on the bill like the house does
  
  • Assigned to a committee (uses same vote methods)
    
• Four differences:
  
  • Senate does have a Speaker of the house, so the Majority Leader confers with the Minority Leader to decide which committee will handle a bill
    
  • Senators can add unlimited amendments to a bill including ones that do not relate to the context
    
  • Reps can serve on only one major committee at a time
    
  • Senate does not have a Rule Committee to limit debate time
    

     
     

  Veto Power and Judicial Review
  

• After both the House and the Senate approve a bill it moves onto the president for his action
  
• Four actions the pres can take
  
  • Pres can sign the bill into law
    
  • Veto the law
    
    • If he vetoes the bill it returns to its origin along with an explanation for the veto
      
    • Congress can accept the veto or it can vote to override the president's decision
      
      • Needs 2/3 vote
        
  • The bill sits on the president's desk for ten days excluding Sundays at the end of which it becomes law
    
• Pres might choose to let the bill be law if it is highly controversial and contrary to his campaign promises
  
• Constitution provides that the pres can use a pocket veto
  
• Although the Congress can pass a bill and the pres can sign it into law
  
  • Judicial branch has final word
    
  • Judicial review provides that the Supreme Court can declare a law unconstitutional
    
  • Many laws have failed judicial review
    
  • Many groups lobby heavily for and against bills during all stages of the legislative process
    
  • Additionally the public can act as lobbyists by sending letters and e-mails and by making phone calls to legislatures
    
• Congress members can also be called lobbyists by making deals with their fellow legislators
  
  • Sparring and deal making can be frenzied in cases of port-barrel legislation
    

Physiology –Muscles Table

FACIAL

Name	Location	Description	Action
Frontalis	Runs vertically on forehead, originates in tissue on scalp	Composed of medial & lateral parts	Draws eyebrows & skin upward
Occipitalus	Lips		Elevates lips
Orbicularis Oris	Schimeter muscles around mouth	Mucous membrane, muscles inserting into lips	Closes lips
Obicularis Oculi	Around eyes Outer: Medial orbit     Palpebral: Palpebal ligament	Three parts: Orbitial, Palpebral, & lacrimal	Projecting and moistening eyes, expressive displays, constrict skin, reduces opening, closes the eye
Zygomatic	Major: Cheek bone (near mouth corner)     Minor: Lateral part of cheek	Inverted by zygomatic & buccal branches	Lifts corner of mouth upward (smiling     Draws skin of lip upward laterally
Levator Labii Superioris	Upper lip & cheek	Two parts: Nasal & lateral Nasal: Originates near/on cheek bone     Lateral: From medial part of orbit	Raises upper lip straight up Raises upper lip, stretched nasal wing up, & wrinkles nose
Depressor Labii Inferioris	Originates in chin part & inserts into skin of lower lip	Inverted by mandibular & buccal branches of facial nerve	Pulls red parts of lips (lower) straight down & skin of lower lip laterally down
Mentalis	Part of mandible below the front teeth	Associated by mandibular & buccal branches of facial nerve	Pushes chin boss upward
Buccinator	Lips	Maxilla & mandible (inserts into)	Maintains cheeks near teeth & food in position for chewing
Platysma	From upper chest through neck to lower cheek	Innverted by deep cervical branch of facial nerve	Assists in depressing mandible & tightens the fascia of neck     Lowers jaw and lip

 
 

CHEST

Sternocladiomastiod	Manubrium of sternum	Inserts into mastoid process of temporal bone	Lateral flexion to same side & rotation to opposite sides     Flexion of head & neck
Pectoralis Major	Sternum to 7th rib	Inserts to crest of greater tubercle of humerus	Flexion of humerus, extension of humerus returning from flexion
Pectoralis Minor	3rd, 4th, & 5th ribs	Inserts into caracoid process of scapula	Tilts scapula forward, depresses & abducts scapula
Deltoid	Lateral 1/3 of clavicle	Inserts into deltoid tuberousity	Abducts the shoulder joint
Serratus Anterior	Scapula fossa of scapula	Inserts into lesser tubercle of humerus	Medially rotates shoulder joint
Subscapularis	Originated at the inner surface of the scapula	Inserts into inferios lateral aspect of clavicle	Elevates first rib, stabilizes sternoclavicular joint

 
 

ABDOMINALS

Rectus abdominus	Front of lower torso	This bands of connective tissue	Flex the spine
Transverse Abdominus	Deepest muscle to the core wrap under abs	Acts as a natural weight belt	Essential for trunk stability as well as keeps stomach tight
Internal Obliques	Flank rectus abs/ run diagonally no body allowing for angles movement	Runs opposite of internal	Twisting of torso     Rotate torso & stabilizes abs
External Obliques	Each side of rectus/ run diagonally on body allowing for angled movement	Runs opposite of external	Twisting/ Rotate torso & stabilizes abs
Trapezius	Runs down upper section of spinal cord	Long, trapezoid shape	Scapular elevation
Latisimus Dorsi	From side of body toward spinal area     Attached to the upper humerus to vertebral	Largest in back     Fan shaped	Pulls arm toward pelvis

 

AP Lit. Dante Allusions

Achitophel/Absalom/David

 
 

According to Christian traditions David was named King over Israel and was chosen by God. He was the youngest son of the shepherd, Jesse, and on day Samuel, a man whom God spoke through, came to Jesse and asked to meet all of his sons, for one of them would be king. Samuel met all young men present at the meeting, and God had told him that none of these men were the one he was looking for. Samuel asked Jesse if these were all of his children, Jesse replied saying that his youngest son was caring for the sheep. The youngest, David, was called before the man of God and right away God told him that David was the one he was looking for. David was anointed by Samuel that very day and from then on God was with him. David's first and most famous victory alongside God occurred when he was still a child. There was a giant named Goliath terrorizing the people of Israel. David took three stones from a brook and his sling and he killed Goliath. David became the most powerful of all the kings and he defeated the enemies of God with ease.

 
 

David married many women and had many children. One woman he married was Bath-sheba, whom he seduced and impregnated before the death of her husband. When he learned of her pregnancy he had Joab assign her husband, Uriah, to a battle position where he would surely die during battle and, just as planned, he died. This action angered God and after they were married he told David that he would be punished through the death of the Bath-sheba's child. The child died five days later and David was forgiven for his sins. Bath-sheba later had another child, Solomon, who would be king and would have God give him great wisdom.

 
 

One of David's children was called Absalom. Absalom was handsome and long beautiful ebony hair. Absalom had a sister, Tamar, who was beautiful. His half-brother, Amnon, fell in love with Tamar and tricked her to come to him while he lay in bed pretending to be sick. He raped Tamar and when he was done he was overcome with hatred for his sister and sent her away. She was shamed, for he had taken away the virginity of a daughter of the king. When Absalom heard what Amnon had done he was angered and angered more when David would not punish Amnon for his actions. Absalom tricked Amnon into having dinner with him and all of their brothers and there he killed them and fled to the Geshur, the city of his mother.

 
 

Achitphel was a very wise advisor to King David. After three years of hiding Absalom returned to the City of David, though they still did see each other. Absalom begins to conspire against his father and raises up an army against the king. Achitphel slips to Absalom's side and David prays to God for him to take away Achitphel's wisdom. Achitphel advises Absalom to take 1200 men and slay David that very night. Absalom is pleased with this advice but also seeks Hushai's advice on the matter. He is told that this plan is not good for the time and he suggests fighting at a later time. The counsel and Absalom all agree that the words of Hushai would be better to follow. When Achitphel realized that his advice was not being followed he returned to the place of his father and hung himself. Hushai, knowing the plan Absalom intended to use to slay David, sent a warning to the king.

 
 

David sent out an army under Joab and instructed them to deal gently with his son and to bring him back alive. There was a great slaughter as many men were killed. Absalom had been riding upon the back of a mule when he went to meet the servants of David. The mule passed through a thick brush and David hair caught in the thicket and the mule moved out from under him. A man saw this happen and reported to Joab that Absalom was caught hanging in an oak tree, Joab asked his why he did not kill him when he saw this. The man explained that he would not dare touch Absalom against the word of the king. Joab then took three darts and thrust them into the heart of the still living Absalom. Ten men joined Joab and they slew him. Joab sent a priest, who volunteered, to bring David the news of the death of his son. David was left mourning.

 
 

The reference to David, Absalom, and Achitphel is a biblical allusion

 
 

 
 

Betrand de Born of bolgia 9 in the 8th circle of hell is more or less introducing himself to Dante and explaining who he is and what he did. He says that he encouraged a mutiny. Convinced the son of a king to rebel just Achitphel did with Absalom and David. He is comparing himself and his actions to Achitphel.

 
 

Achitphel, Absalom, and David are all people taken from the books of I and II Samuel in the bible. David was king of Israel under God with Achitphel as one of his advisors and Absalom was his son. Absalom rebelled against David and Achitphel betrayed David by counseling Absalom, although his advice was not taken and he committed suicide after discovering this.

 
 

Betrand de Born from bolgia nine compares himself to Achitphel from II Samuel in that he helped raise a rebellion against the king.

 
 

 
 

". . . it was I

who set the young king on to mutiny,

 
 

son against father, father against son

as Achitphel set Absalom against David;

and since I parted those who should be one . . ."

 
 

 
 

 
 

John the Baptist

 
 

John the Baptist is described from his birth to his death in the Gospel of Saint Luke. He is the son of Zacharias and Elisabeth, who had once been thought to be barren. His birth was first foretold to Zacharias in his later years by an angel of God. The angel told him that his wife would have a child and that they would name him John. Zacharias did not believe this and so the angel made him mute until his wife gave birth. And indeed, just as the angel had said, the elderly Elisabeth gave birth to a son. When she questioned what he should be named Zacharias burst out the name John, speaking for the first time in nine months. Elisabeth was the cousin of Mary, the virgin mother of Jesus.

 
 

John preached the baptism of repentance for the forgiveness of sins in the country around the Jordan after the word of God came to him in the wilderness. He tells people that he baptizes them with water, but soon one will come who will baptize them with the Holy Spirit and fire. When Jesus was 30 he came to John to be baptized. John knew immediately and said that it is Jesus who should be baptizing him. On Jesus' insistence John baptized Jesus and when we rose from the water the Holy Spirit descended upon him like a dove.

 
 

John continued his work until Herod imprisoned him. On Herod's birthday the daughter of Herodias danced for him and to repay her he offered anything she wished. Her mother told her to ask for the head of John the Baptist, and so she asked. Though the king was sorry he would not break his oath and so he commanded it be done. So, John was beheaded in the prison and his head was delivered to the dancer who presented it to her mother.

 
 

This reference to John the Baptist is a biblical allusion.

 
 

Aretine from the tenth Bolgia of the eighth circle speaks to Dante about him during life and during his explanation he mentions that he learned to stamp the image of John the Baptist onto alloyed gold until he was "bound and burned".

 
 

John the Baptist is a Saint in the Christian religion. He baptized Jesus and witnessed the Holy Spirit descending upon him. He was beheaded on the orders of King Herod.

 
 

"Inflexible Justice that has forked and spread

My soul like hay, to search it the more closely

Finds in the country where my guilt was bred

 
 

Increase of my grief; for there I learned,

There in Romena, to stamp the Baptist's image

On alloyed gold-till I was bound and burned."

 
 

 
 

Narcissus

Narcissus in Greek mythology was a man who was so vain that he shunned the love of many. One of those was a nymph, Echo. Echo was obsessed with Narcissus, but because of a curse Hera, the queen of the gods, put on her she was unable to speak except for repeating what she heard others say. She followed Narcissus around waiting for him to say something that she could repeat to tell him of her love for him. One day he happened to glance at his reflection and he told himself that he loved him, and Echo quickly repeated his words, but he ignored her. Echo was hurt by his behavior and she hid herself in a cave until she died leaving only her voice behind. Narcissus was put under a curse of his own because of his vanity. He had claimed himself to be more beautiful than the gods. Angered they put a curse on him so that he would love only himself. One day when he stopped his hunting for a drink from a river he caught a glimpse of his reflection and mistook it for a water nymph. He fell madly in love with himself. Narcissus was so in love that he forgot about his thirst and hunger and spent the remained of his days staring into the river begging the water nymph to come out and speak to him until one day he just withered away. The nymphs of the forest mourned for him and in the spot by the river a beautiful flower, the blossom was named for him.

 
 

The reference to Narcissus is a mythological allusion

 
 

Narcissus is brought just in conversation. It was stated that it was like looking into the mirror of narcissus, meaning that one would become enveloped in the relfection

AP Government -Media Project

 
 

1. Television was a new medium for presidential candidates in 1952. In your opinion, who used this medium to better advantage—Eisenhower or Stevenson? Explain your answer, using details from the spots.

 
 

Eisenhower used it much better. He aired his ads when more of America was likely to watch and kept his message short and to the point. Which is perfect for the attention span of America. Stevenson aired his late at night and his speeches were long and then still longer than his allotted time.

 
 

2. What concerns does a candidate face when presenting himself in a television ad that might not exist in other campaign situations?

 
 

He has to make sure he looks presentable to the point of perfection. Radio ads don't require you to look nice and when giving speeches in person the audience won't be seeing you up close. On TV all of America has a front row seat. Any mistake he makes during a televised speeches will also be heard for everyone to hear and maybe even played back over and over.

 
 

3. What kind of effect does TV advertising have on the American political process, voter opinion, and election results?

 
 

TV advertising brings the political election into the homes of America and advertises the candidates and their stances. It can both help and hurt the candidates of any given race depending on how they use their time. If you do it right you can raise your chances of being elected and increase the amount of public votes or you can ruin yourself and waste campaign money by doing what Stevenson did and not thinking about when you were airing your program.

 
 

4. Select two ads from either 1952 or 1956, and two ads from 1980 or later. Describe the difference in television of both eras, and how they are reflected in the candidate's presentations. What differences do you notice in the production choices, style, and overall effect of the commercials? What do these changes suggest about how the medium itself has evolved?

 
 

In 1952 the commercials were fun and advertised the beliefs of the candidate who sponsored them. One of the ads by Eisenhower was a cartoon with a very catchy song that left me wanting to vote for him and another was one of his many "Eisenhower answers America" in which he answers a question asked by 'a common American'

In 1988 it was Bush versus Dukakis (who has a funny name). Bush aired two commercials both of which spoke about bad choices of Dukakis and the mistakes he made. He did nothing during his governor term to help with the pollution of the Boston harbor and he decided to give prisoners weekend passes from prison during which one prisoner escaped, kidnapped a couple, killed the man, and raped the woman. Smart moves on his part.

 
 

5. The Internet today offers new challenges for presidential candidates. In your opinion, what are the advantages and disadvantages for presidential candidates in using this new medium? How has the Internet changed the nature of the American political process, voter opinion, and election results?

 
 

Advantages of using the internet is that they can get their ads across to America at a lower cost and to a broader audience since nearly everyone uses the internet in this day and age. Disadvantages are that it is so much easier for America to come across and have full on discussions about the follies of the candidates as well. Gossip is spread in a snap.

 
 

Project: Examine the 2008 Presidential race to gain an understanding of how television ads and Internet ads reflect and address the concerns of the voting public. What issues do you think are the most important to voters? Why did you choose these issues? Remember that political commercials are designed to respond to voters' concerns.

 
 

1. From viewing several ads, either from television or the Internet, what do you think Americans' main domestic and international concerns are at this time? How do the ads address these concerns?

 
 

 
 

 
 

2. Describe the specific criticisms of Clinton, Obama, and McCain the ads you viewed address. Do the candidates provide evidence to back up their claims? If so, what is it and are you persuaded?

3. How effective are negative ads? Do you think such ads help a candidate in an election? Or are voter's repelled by such negative tactics? Explain your answer.

 
 

Art History-Images-Chap 25

• 25-1: Kojo Bonsu. Finial of a spokesperson's staff
  
  • Ghana, Ashanti culture
    
  • Wood and gold
    
  • Depicts a proverb saying that political power is like an egg, grasp it too tightly and it will shatter, hold it too loosely and it will slip from your grasp
    
  • This was the top of a staff held by a ruler
    

     
     

• 25-2 Doll (Biiga)
  
  • Mossi culture; wood
    
  • People of Burkina Faso made it
    
  • Biiga=Child
    
  • Plaything for little girls
    
  • Shows ideals of mature beauty
    
    • Elaborate hair styles, lovely clothing, developed breasts
      
  • Wears hair as most little girls do: long projecting lock over face
    
  • Elongated breasts recall the practice of stretching by massaging for lactation
    
  • Scars at the naval mimic those applied to women following the birth of their 1st child
    

     
     

• 25-3
  Akiode. Twin Figures (ere ibeji)
  
  • Yourba culture; wood
    
  • Female
    
  • Encourage the birth and growth of children, the figures encourage the birth of children and emphasize health and well-being
    
  • Have glossy surfaces, rings of fat as evidence they were well fed and marks of mature adulthood
    
  • Represent hope fort he future, for survival, and prosperity
    

   
   

• 25-4 Two Masks in Performance
  
  • Dossi, Burkina Faso, Bwa Culture
    
  • Wood, mineral pigments, and fiber
    
  • Importance marked by tall narrow plank
    
    • Abstract and represent the spirits that have taken neither human nor animal form
      
    • Graphics are easily identified
      
    • The crescent at the top represent eh quarter moon, under which the initiation is held
      
    • White triangle represent bull roarers (sacred sound makers)
      
    • 'X' represents the scar that every initiated Bwa wears as a mark of devotion
      
    • Zigzags represent the path of the ancestors
      
    • The red hook is supposed to be the beak of a hornbill
      

   
   

• 25-5 Female Ancestral Mask (Nowo)
  
  • Sierra Leonne, Mende Culture
    
  • Wood
    
  • High glossy forehead, plaited hair style decorated with combs, and creases of abundance around the neck represents the Mende ideal of female beauty
    
  • Compared to an African butterfly; therefore the girls are like beautiful butterflies emerging from its ugly chrysalis
    

   
   

• 25-6 Bwami Mask
  
  • Democratic Republic of the Congo, Lega Culture
    
  • Wood, kaolin, and hemp fibers
    
  • Associated with yananio, the second highest grade
    
  • Head fashioned into an oval into which a concave, heart shaped face is carved
    
  • Masks are colored white with clay and fitted with a beard made from hemp fibers
    
  • Displayed by holding in the hand or attached to a thigh
    

   
   

• 25-7 Spirit Figure (Boteba)
  
  • Burkina Faso, Lobi Culture
    
  • Wood
    
  • In a pose of mourning
    
  • Boteba mourns so that the owner won't have to be sad
    
  • Takes on the burden of grief
    

   
   

• 25-8 Power Figue (Nkisi Nkonde)
  
  • Democratic Republic of the Congo, Kongo Culture
    
  • Wood, nails, pins, blades, and other materials
    
  • Plain and wooden when first created, bilongo added specific to the owner
    
  • Nail punched in to get the attention of the spirit
    

   
   

• 25-9 Spirit Spouse (blolo bla)
  
  • Cote d'lvoire, Baule Culture
    
  • Wood
    
  • Especial attention to details
    

   
   

• 25-10 Dance Staff Depicting Eshu
  
  • Nigeria, Yourba Culture
    
  • Wood
    
  • Shown as a boy blowing a loud noise to annoy people and also as a wise old man
    
  • Two faces are joined by hair
    
  • Heads crown a dance want meant to be carried in performances by priests and followers of Eshu
    

   
   

• 25-1 Kojo Bonsu. Finial of a Spokesperson's Staff
  
  • Ghana, Ashanti Culture
    
  • Example of the art of leadership
    
  • Illustrates a story that has multiple meanings when told by a witty owner
    
  • Carved in 1960s-70s
    

   
   

• 25-11 Kente Cloth
  
  • Ghana, Ashanti Culture
    
  • Silk
    
  • Originally reserved for state regalia
    
    • Man wore a single huge piece wrapped like a toga with no belt and the right shoulder bare
      
    • Women wore two pieces, a skirt and a shawl
      
  • Begins with a warp pattern that alternate red, green, and yellow (oyokoman ogya da mu)
    
  • Traditionally only the king was allowed to wear this pattern
    

   
   

• 25-12 Royal Portrait Figure (ndop) of Shyaam a-mbul
  
  
  • Democratic Republic of the Congo, Baluba Culture, Kuba Kingdom
    
  • Wood
    
  • While the king was alive his ndop was believed to be his double
    
  • After death it was believed to embody his spirit, which was thought to have power over the fertility of the land and his subjects
    
  • On the front of his dais is a board for playing mancala (he supposedly introduced he game)
    

   
   

• 25-13 Olowe of Ise. Door from Royal Palace in Ikere, Nigeria
  
  • Yourba Culture
    
  • Wood, pigment
    
  • Asymmetrical composition combines narrative and symbolic scenes in horizontal rectangular panels
    
  • Tall figures carved in profile end in heads facing out to confront the viewer
    
    • Long necks and elaborate hairstyles make them appear taller
      
  • Figures are in such high relief that the upper portions are carved in the round
    

   
   

• 25-14 Ekpo Mask
  
  • Nirergia, Anang Ibibio Culture
    
  • Wood
    
  • Given repulsive qualities
    
    • Swollen features, matte black skin, eneven teeth
      
  • Skulls at top are images of death
    
  • Scar on forehead symbolizes the membership in the diviner's cult
    

   
   

• 25-15 Kanaga Mask
  
  • Mali, Dogon Culture
    
  • Wood
    
  • Most common
    
  • Rectangular face supports a superstructure of planks that depict a woman, bird, or lizard with splayed legs
    

   
   

• 25-16 Reliquary Guardian (nlo byeri)
  
  • Gabon, Fang Culture
    
  • Wood
    
  • Carved in naturalistic style with carefully arranged hairstyle
    
  • Fully rounded torso, heavily muscled legs and arms
    
  • Frequent applications of cleansing and purifying palm oil
    

   
   

• 25-17 Ancestral Screen (duen fobara)
  
  • Abonnema village, Nigeria. Ijo culture
    
  • "Foreheads of the dead"
    
  • Made of pieces of wood and cane that were joined, nailed, bounds, and pegged together
    
  • Wears a hat the shows that he is a member of an important men's society called Peri
    
  • Flanked by assistants, followers, or supporters of the canoe house
    
  • Originally held weapons
    

   
   

• 25-18 Spirit Mask in Performance
  
  • Cote d'lvoire, Guro culture
    
  • Polychrome wood
    

   
   

• 25-19 Ouattara. Nok Culture
  
  • Acylic and mixed mediums on mood
    
  • Dense with allusions to Africa's artistic and spiritual heritage
    
  • Name refers to a culture that thrived in Nigeria and whose naturalistic use of terra-cotta sculpture are e earliest known figurative art from Sub-Sahara
    
  • Thickly applied paint has built up a surface reminiscent of the painted adobe walls
    
  • Conical horns at the upper corners evoke the ancestral shrines common in rural communities
    
  • Motif of concentric circles at the center looks like the traditional bull-roarer sound maker
    

   
   

• Magdalene Odundo. Asymmetrical Angled Piece
  
  • Reduced red clay
    
  • Asymmetrical
    
  • Flawless surface like traditional Kenyan pottery
    

   
   

Art History-Africa Summary

Art of Africa in the Modern Era

 
 

Traditional and Contemporary Africa:

• 2nd largest continent in the world
  
• Geographically ranges from deserts to tropical rain forests, from flat grasslands to mountains
  
• There are more than 1,000 different languages
  
  • Grouped into five linguistic families
    
  • Represent unique cultures with their own history, culture, and art forms
    
• Before the 19th century the most important influence in Africa had been the religious culture of Islam
  
• The modern era begins with the European exploration and subsequent colonization of the African continent
  
  • European ships first visited Sub-Sahara Africa in the 15th century
    
  • Contact was limited to the costal regions for the first several hundred years
    
  • As slavery was eliminated explorers began to explore the un-mapped regions of Africa
    
  • They were followed by Christian missionaries
    
    • Their reports fueled popular interest in Africa
      
  • Drawn by the potential wealth of resources European governments began to seek territorial concessions
    
    • Diplomacy became force and created competition amount rival powers fueled the scramble for Africa
      
    • By 1914 all of Africa had fallen under colonial rule
      
• Following WW I
  
  • Nationalistic movements arose across Africa
    
    • Leaders did not advocate a return to earlier forms, but wanted the transformation of colonial divisions into Western-style states governed by Africans
      
    • From 1945-1970s colonies gained independence
      
• Africa has affected and has been affected by contacts with different people
  
  • During the 20th century the art of African societies played a pivotal role in revitalizing the Western art tradition
    
  • The formal inventiveness and expressive power of African sculptures were sources of inspiration for European artists
    
  • Modern African artists who have come of age in post-colonial culture that mingles European and African elements can draw on the influence of many cultures
    
    • Established a place in international art scene along with European, American, and Asian counterparts
      
• Europeans always shipped African art back to western societies, but they were placed into natural history museums rather than art museums until the end of the 19th century
  
• Traditional societies persists in Africa
  
  • Within and across political borders
    
  • Art plays a vital role in the spiritual and social life of the communities
    
    • Used to express ideas and their relation to the world and as a tool to help them survive
      

Children and the Continuity of Life

• Children represent he future of the family and community
  
• Provide a form of "social security" (parents will have someone to take care of them when they get old)
  
• In the harsh environments of Africa, life is fragile
  
  • In some areas half of all infants die before the age of five and the average life expectancy may be as low as 40
    
  • Women have kids hoping they will make it to adulthood
    
    • It is a disaster for a woman to not have a child for the woman, husband, and the husbands lineage
      
      • Unusual for man to be blamed as the cause for infertility
        
    • Woman who have trouble having children appeal for help using special offerings, sometimes including art
      
      • 25-2 Doll (Biiga)
        

        Mossi culture; wood
        

        People of Burkina Faso made it
        

        Biiga=Child
        

        Plaything for little girls
        

        Shows ideals of mature beauty
        

        Elaborate hair styles, lovely clothing, developed breasts
        

        Wears hair as most little girls do: long projecting lock over face
        

        Elongated breasts recall the practice of stretching by massaging for lactation
        

        Scars at the naval mimic those applied to women following the birth of their 1st child
        

      • Children do not out grow their Biiga dolls; when they marry the young woman brings it with her to her husbands home as a fertility aid
        
        • If she has trouble giving birth she will carry the doll on her back as she would a baby
          
        • After giving birth it is placed on a new clean mat before the baby is placed there
          
        • Before she nurses the baby the doll is held to her breast
          
• The Yoruba people of Nigeria have the highest birth rate of twins
  
  • The birth of twins is a joyful occasion, but also troubling
    
    • More delicate than single babies; one or more may die
      
  • Africans believe that a dead child's spirit continues its life in a spirit world and that the parent's care and affection may reach it there
    
    • If a twin dies the parents consult a diviner (specialist in ritual and spiritual practices) who may tell them that an image of a twin, or ere ibeji must be carved
      
    • Parents send the artist food as the image is being carved as payment
      
    • When it is finished the mother carried the image around like a real baby
      
    • She dances home accompanied by the women of the village
      
    • The figure is placed on a shrine and is clothed and given food
      
  • It is believed that the spirit of a dead twin honored may bring the parents luck and blessings
    
    • 25-3
      Akiode. Twin Figures (ere ibeji)
      

      Yourba culture; wood
      

      Female
      

      Encourage the birth and growth of children, the figures encourage the birth of children and
      

      emphasize health and well-being
      

      Have glossy surfaces, rings of fat as evidence they were well fed and marks of mature adulthood
      

      Represent hope fort he future, for survival, and prosperity
      

• Initiation
  
  • Concentrated and the acquisition of knowledge may be supplemented by physical tests and trial of endurance to prove that the candidate is equal tot eh hardships of adult life
    
    • Bwa people of Burkina Faso initiate men and women at the start of puberty
      
      • They are separated from playmates by being 'kidnapped' by older relatives (Explained in the community by saying they were eaten by wild beasts)
        
      • Striped of clothing and made to sleep on the ground without blankets
        
      • Taught about the world of nature spirits and about the wooden masks that represent them
        
        • They have seen these masks all their lives, but they learn that they are made from wood and are worn by their older brothers and cousins
          
      • They memorize the stories of each spirit and how to make a costume from hemp to be worn with the masks
        
        • Only boys wear the masks and so only they learn the dance moves to express the character and personality it represents
          
      • When they return they have a ceremony to show the community what they have learned
        
        • 25-4 Two Masks in Performance
          

          Dossi, Burkina Faso, Bwa Culture
          

          Wood, mineral pigments, and fiber
          

          Importance marked by tall narrow plank
          

          Abstract and represent the spirits that have taken neither human nor animal form
          

          Graphics are easily identified
          

          The crescent at the top represent eh quarter moon, under which the initiation is held
          

          White triangle represent bull roarers (sacred sound makers)
          

          'X' represents the scar that every initiated Bwa wears as a mark of devotion
          

          Zigzags represent the path of the ancestors
          

          The red hook is supposed to be the beak of a hornbill
          

    • Mende people of Sierra Leone initiate girls through an organized society of women called Sande
      
      • Includes the ritual bath in a river
        
      • After the girls return to the village to meet their husbands
        
      • Sande women wear black gloves and stockings, black costumes of shredded raffia fibers that cover entire body, and black masks called nowo
        
        • 25-5 Female Ancestral Mask (Nowo)
          

          Sierra Leonne, Mende Culture
          

          Wood
          

          High glossy forehead, plaited hair style decorated with combs, and creases of abundance around
          

          the neck represents the Mende ideal of female beauty
          

          Compared to an African butterfly; therefore the girls are like beautiful butterflies emerging from
          

          Its ugly chrysalis
          

    • Lega people from the forests have a political system based on voluntarily association
      called bwami
      
      • Bwami has six levels, 80% of males belong to Bwami and aspire to get to the highest level
        
      • Woman can become bwami as well, though they can't be a higher level than their husbands
        
      • Promotion from one grade to the next takes many years
        
      • Based on individuals characteristics and ability to pay initiation fees
        
        • One cannot pay the fees on their own, they need support from their families, this encourages a close community
          
      • Promotes lifelong growth in moral character and understanding of the relationship of the individual to the community
        
      • Initiations held in the plaza and dances and songs are performed
        
      • Values and ideals of the particular level are explained through proverbs
        
      • Standards are illustrated by natural and crafted objects, which are presented to the initiate as signs of membership
        
        • Bwami Mask
          

          Democratic Republic of the Congo, Lega Culture
          

          Wood, kaolin, and hemp fibers
          

          Associated with yananio, the second highest grade
          

          Head fashioned into an oval into which a concave, heart shaped face is carved
          

          Masks are colored white with clay and fitted with a beard made from hemp fibers
          

          Displayed by holding in the hand or attached to a thigh
          

The Spirit World

• Spirits are believed to inhabit the fields that produce crops, the river that provides fish, the forest that is home to game, ect.
  
• Families include spirits as well; ancestors and children unborn
  
• To communicate with these spirits African societies rely on a specialist
  
  • Provides link between the supernatural and human worlds
    
  • Opening the lines of communication through payer, sacrifice, offerings, magic, and divination
    
  • Lobi people of Burkina Faso believe the spirits of nature are known as thila and control every aspect of life
    
    • Community brought together by the same thil and agree to regulate by its rules, called zoser
      
    • Rules can be compared to those binding religious communities around the world
      
    • No system of rule other than zoser
      
    • Thila are invisible, but when adversity strike the Lobi may consult a diviner to who may perscribe the carving of a wooden figure called boteba (gives a thila a physical form)
      
      • 25-7 Spirit Figure (Boteba)
        

        Burkina Faso, Lobi Culture
        

        Wood
        

        In a pose of mourning
        

        Boteba mourns so that the owner won't have to be sad
        

        Takes on the burdan of grief
        

      • Thought of as a living being who can see, move, and communicate with other boteba and with its owner
        
      • Owner can address the spirit and it gives form to directly, seeking its protection or aid
        
  • Kongo and Songye people of the Congo create the mort potent images of power in African art
    
    • The best known of these are large wooden nkonde, which bristle with nails, pins, blades, and other sharp objects
      
      • Start out as simple and unadorned wooden figures that may be purchased from a carver at a market
        
      • Drawing on vast knowledge, the diviner prescribes magical ingredients called bilongo specific to the clients problems
        
        • Ingreadients are drawn from plants, animals, and minerals
          
        • Added to figure
          
      • Bilongo transform the figure into a living being with frightful powers
        
      • Some bring the figure to life by embodying the spirit of an ancestor
        
      • Others endow the figure with powers or focus the powers in a certain direction
        
        • To activate the power clients drive a nail into the figure to get the spirit's attention
          
          • 25-8 Power Figue (Nkisi Nkonde)
            

            Democratic Republic of the Congo, Kongo Culture
            

            Wood, nails, pins, blades, and other materials
            

            Plain and wooden when first created, bilongo added specific to the owner
            

            Nail punched in to get the attention of the spirit
            

  • Some African peoples see the spirit world as a parallel realm where spirits have families, ect. Such as the Baule people in Cote d'lvoire
    
    • Believe that we lived in the spirit world before we were born
      
    • People who do not achieve their gender specific role (such as a man not getting married or a woman not having children ) may dream of their spirit spouse
      
    • Dviner may prescribe the carving of an image of the spirit spouse
      
      • A man has a female figure carved (blolo bla) and a woman has a male figure carved (Blolo bian)
        
      • Figures display the most admired and desirable marks of beauty so that the spirit spouses may inhabit them
        
      • Broadly naturalistic, with swelling, fully founded musculature and careful attention to detail of hairstyle, jewelry, and scarification patterns
        
      • Figures are cared for by owner, they are fed, oiled, and clothed
        
        • Believed that if they are well cared for the spirits will return the balance to the human life and everything will run smoothly
          
          • 25-9 Spirit Spouse (blolo bla)
            

            Cote d'lvoire, Baule Culture
            

            Wood
            

            Especial attention to details
            

• Nature spirits are common in African art and major deities are generally considered to be far removed from everyday life and are thus rarely depicted
  
  • Such is the case with the creator god of the Yourba people, Olodumare
    
    • People have a sizable pantheon of lesser gods, or orisha, who serve as intermediates between Olodumare and his creation
      
      • One of these commonly depicted is Eshu, the messenger of the gods
        
        • He is a trickster and the people acknowledge that humans slip up when it is important not to and thus recognize and pay tribute to Eshu
          
        • Associated with two eternal sources of human conflict: sex and money
          
        • He is shown with long hair because the people associated long hair with excess libidinous energy and unrestrained sexuality
          
        • Shrines are erected to eshu wherever there was a possibility of conflict
          
        • May be represent as male or female, a young prankster or an old man
          
          • 25-10 Dance Staff Depicting Eshu
            

            Nigeria, Yourba Culture
            

            Wood
            

            Shown as a boy blowing a loud noise to annoy people and also as a wise old man
            

            Two faces are joined by hair
            

            Heads crown a dance want meant to be carried in performances by priests and followers of Eshu
            

Leadership

• Art in Africa is used to indentify those who hold power, to validate their right to kingship or their authority as representatives, and to communicate the rules for moral behavior
  
  • Ashanti people of Ghana
    
    • Admire fine language
      
    • Government system includes the special post of spokesperson to the ruler
      
    • Advisers carry staffs of office
      
      • 25-1 Kojo Bonsu. Finial of a Spokesperson's Staff
        

        Ghana, Ashanti Culture
        

        Example of the art of leadership
        

        Illustrates a story that has multiple meanings when told by a witty owner
        

        Carved in 1960s-70s
        

    • Use gold for jewelry as do other peoples in the regions, but Ashanti thought of gold as a major source of power
      
      • Used it for trade
        
    • Renowned for the beauty of their woven textiles called kente
      
      • Weaving was introduced in the 1700s from Sudan
        
      • Weavers work on small, light, horizontal looms that produce long narrow strips of cloth
        
        • Lay out the long warp threads in a bright colorful pattern
          
        • Weft threads are woven through the warp to produce complex patterns
          
        • Longs strips produced by the loom are then cut to size and sewn together to form large rectangles of finished kente cloth
          
          • Kente Cloth
            

            Ghana, Ashanti Culture
            

            Silk
            

            Originally reserved for state regalia
            

            Man wore a single huge piece wrapped like a toga with no belt and the right shoulder bare
            

            Women wore two pieces, a skirt and a shawl
            

            Begins with a warp pattern that alternate red, green, and yellow (oyokoman ogya da mu)
            

            Traditionally only the king was allowed to wear this pattern
            

  • Kuba people of the Democratic Republic of Congo produced elaborate and sophisticated political art
    
    • Kings were memorialized by portrait sculpture called ndop
      
      • Royal Portrait Figure (ndop) of Shyaam a-mbul
        
        

        Democratic Republic of the Congo, Baluba Culture, Kuba Kingdom
        

        Wood
        

        While the king was alive his ndop was believed to be his double
        

        After death it was believed to embody his spirit, which was thought to have power over the fertility of the land and his subjects
        

        On the front of his dais is a board for playing mancala (he supposedly introduced he game)
        

      • Did not try to capture a physical likeness of each king-Each king is identified by an icon called ibol carved as port of the dais on which he is seated
        
        • Refers to a skill for which the king was noted or an important event that took place during his lifetime
          
      • Also feature carved representation of royal regalia including a wide belt of cowrie shells
        
      • Below this is a braided belt that can be untied
        
      • Rings on the forearms were worn by the king and his mother
        
      • Wear a distinctive cap with a projecting bill
        
  • Kings of the Yoruba people manifested their power through the large, complex palaces in which they lived
    
    • In the typical palace the principal rooms opened into a veranda with elaborately carved posts fronting a courtyard
      
    • Highly descriptive figure carving covered doors
      
      • 25-13 Olowe of Ise. Door from Royal Palace in Ikere, Nigeria
        

        Yourba Culture
        

        Wood, pigment
        

        Asymmetrical composition combines narrative and symbolic scenes in horizontal rectangular panels
        

        Tall figures carved in profile end in heads facing out to confront the viewer
        

        Long necks and elaborate hairstyles make them appear taller
        

        Figures are in such high relief that the upper portions are carved in the round
        

      Olowe worked from early 1900s until his death in 1938
      

  • Not all of African people centralized power in a single ruler
    
    • Most of SE Nigeria depended on a council
      
    • Anang Ibibio people of Nigeria were ruled by a man's society called Ekpo
      
      • Expressed power in part through art
        
        • Especially large, cark, frightening masks
          
          • 25-14 Ekpo Mask
            

            Nirergia, Anang Ibibio Culture
            

            Wood
            

            Given repulsive qualities
            

            Swollen features, matte black skin, eneven teeth
            

            Skulls at top are images of death
            

            Scar on forehead symbolizes the membership in the diviner's cult
            

        • In rituals it is the mask not the person committing the actions
          
        • Worn when a person is punishing another (executions)
          

Death and Ancestors

• Africans believe that death is not the end, but a transition from one phase of life to another
  
• Mark the initiation of the newly dead into the community of the spirits
  
  • Death begins with separation from the community
    
  • A period of isolation and trial follows
    
  • Then reintegrated into a community
    
• Dogon people of Mali-Collective funeral rite with masks is held every 12-13 years (called dama)
  
  • Masks perform to the sound of gunfire to drive the soul of the dead from the village
    
    • 25-15 Kanaga Mask
      

      Mali, Dogon Culture
      

      Wood
      

      Most common
      

      Rectangular face supports a superstructure of planks that depict a woman, bird, or lizard with splayed
      

      Legs
      

  • For a deceased man, men from the community engage in a mock battle on the roof of his home are participate in ritual hunts
    
  • For a woman, the women of the village small her cooking vessels on the threshold of her home
    
  • Portions of dama are reminders of human activities the dead will no longer do
    
• Fang people near the Atlantic coast follow an ancestral religion in which the long bones and skulls of ancestors who have performed great deeds are collected and placed together in a cylindrical container called nsekh o byeri
  
  • Deed honored include killing an elephant, being the first the trade with the Europeans, have a lot of kids, or founding a particular lineage of the community
    
  • On the top of the container was a wooden figure called nlo byeri, which represent the ancestors and guards their relics from malevolent spirit forces
    
    • Carved in naturalistic style with carefully arranged hairstyle with fully rounded torso, heavily muscled legs and arms
      
    • Frequent applications of cleansing and purifying palm oil
      
    • Strong symmetry of the statue is notable
      
    • Layout Fang Village is also symmetrical with pairs of houses facing each other across a large public meeting house
      
      • 25-16 Reliquary Guardian (nlo byeri)
        

        Gabon, Fang Culture
        

        Wood
        

        Carved in naturalistic style with carefully arranged hairstyle
        

        Fully rounded torso, heavily muscled legs and arms
        

        Frequent applications of cleansing and purifying palm oil
        

  • Culture emphasizes the necessity of imposing order on a disorderly world
    
  • Strived to achieve balance between the opposing forces of chaos and older, male and female, pure and impure, ect.
    
  • Value an attitude of quiet composure, of reflection, and tranquility
    
    • Embodied in the powerful symmetry
      
• The most complex funerary art in Africa are the memorial ancestral screens made by the Ijo people of SE Nigeria
  
  • Groups of Ijo men organized themselves into economic associations called canoe houses, and the head of canoe houses had much power and authority in the community
    
  • When the head of the house died a screen was made in his memory
    
    • Made of pieces of wood and cane that were joined, nailed, bounds, and pegged together
      
    • Each screen commemorates a specific individual the central figure was not intended as a physical likeness
      
      • Identity communicated through attributes of status that the deceased had the right to wear
        
        • 25-17 Ancestral Screen (duen fobara)
          

          Abonnema village, Nigeria. Ijo culture
          

          "Foreheads of the dead"
          

          Made of pieces of wood and cane that were joined, nailed, bounds, and pegged together
          

          Wears a hat the shows that he is a member of an important men's society called Peri
          

          Flanked by assistants, followers, or supporters of the canoe house
          

          Originally held weapons
          

    • Screens were placed in the ancestral altars of the canoe house
      

Contemporary Art

• As new experiences pose new challenges or offer new opportunities, art change with them
  
  • Adaption of modern materials to traditional forms
    
  • Others have made use of European textiles, plastics, metals, ect. to enhance their art
    
  • Some Yourba have used photos and bright colored plastic children's dolls in place of traditional ere ibeji
    
  • Guro people continue to commission masks dressed with costly textiles and other materials
    
    • Now they paint them with oil based enamel paints, endowing the traditional form with new range of brilliance of color
      
    • Added inscriptions in French and depictions of contemporary figures to sculptural forms
      
      • 25-18 Spirit Mask in Performance
        

        Cote d'lvoire, Guro culture
        

        Polychrome wood
        

• African artists study art in Europe and the US
  
  • Ouattara:
    
    • Born in Cote d'lvoire
      
    • Received French and traditional African schooling
      
      • 25-19 Ouattara. Nok Culture
        

        Acylic and mixed mediums on mood
        

        Dense with allusions to Africa's artistic and spiritual heritage
        

        Name refers to a culture that thrived in Nigeria and whose naturalistic use of terra-cotta sculpture are
        

        the earliest known figurative art from Sub-Sahara
        

        Thickly applied paint has built up a surface reminiscent of the painted adobe walls
        

        Conical horns at the upper corners evoke the ancestral shrines common in rural communities
        

        Motif of concentric circles at the center looks like the traditional bull-roarer sound maker
        

• Ceramics have also caught the international attention
  
  • Traditionally made by women
    
  • Allowed women from traditional communities to attain a measure of economic independence
    
  • Women do not usually share their pottery income with their husband but keep it for food for themselves and their children
    
  • Some women have achieved broader recognition as artists
    
    • Magdalene Odundo
      
      • Work displays the flawless surfaces of traditional Kenyan pottery
        
      • Forms her pots using the same coiling technique as her Kenyan ancestors
        
      • Draws inspiration from a tremendous variety of coursed
        
        • African and non-African
          
          • Magdalene Odundo. Asymmetrical Angled Piece
            

            Reduced red clay
            

            Asymmetrical
            

            Flawless surface like traditional Kenyan pottery
            

             
             

       
       

       
       

AP Literature - Cute Little LotF Game Thing

So, I found that Nobel Prize site again, it has a short flash game for Lord of the Flies:
http://nobelprize.org/educational_games/literature/golding/

Practice your knowledge of Lord of the Flies! :D
And if you didn't read it, the game's dead easy anyway, so just keep clicking stuff 'til something happens.
The site has some handy info like the meaning behind some of the boys' names (which are pretty appropriate; Roger's is actually a bit of a foreshadowing), and what symbols like the conch or the glasses represent.

Also, I found another nifty site while searching: http://www.bookrags.com/notes/lof/TOP3.htm
It has summaries of what happens in each chapter, tracks the important symbols/themes ("pig", "intellect", etc.), has a list of objects/places, and even details the main characters! Yay!