Women Writing: Stories in Art

 

Step by Step With Teacher Zee: Inquiry-Based Learning

My grade 8 student and I are exploring a unit on Basketball and NBA legend, Kobe Bryant. It is a sport he is eager to learn and takes interest in understanding the life of a professional basketball player. I took this as an opportunity to engage him and learn skills in reading, writing and metacognition.

Here is a snippet of our recent activity involving the viewing of Bryant's short film, Dear Basketball.

Let me unpack this simple activity based on pedagogy and teaching strategies.

Pedagogy: Inquiry-Based Learning

Curiosity and critical thinking are fostered by encouraging students to ask their own questions. Instead of feeding them information, guiding them to discover meaning themselves, empowers deeper learning and personal connection to the material. Teaching Strategies:

1. Active Viewing • Students are not passive watchers of the film. They are given a purpose for watching—to find answers to their own questions which makes the viewing more intentional and analytical.

2. Question Generation (Metacognition) • Asking students to come up with their own questions encourages them to think about their thinking. It helps them process what intrigues or confuses them, and it activates prior knowledge and emotional engagement.

3. Scaffolded Reflection • The follow-up task of finding answers, writing them down, and paraphrasing supports comprehension and builds confidence in expressing ideas independently.

4. Personalized Encouragement (Positive Reinforcement) • Your feedback to Lonzo (“These questions show your engagement…”) reinforces participation and effort, building a positive learning environment and student-teacher rapport. This activity blends emotional engagement (through the inspiring story of Kobe), cognitive processing (via questioning and paraphrasing), and autonomy (student-directed inquiry).

Cultivating Curiosity in Children Through Non-Fiction Books

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Summer Workshops at Saddleback Kids!

Book Reco on World Book and Copyright Day 2025

 

The Lighthouse Diary #72: Research Skills: Source Evaluation and OPVL (2 of 3)

This is my lesson plan for the session on Source Evaluation with our Grade 8 Students.

The Lighthouse Diary #71: Research Skills: Source Evaluation and OPVL (1 of 3)

In November 2024, our Grade 8 students had a library and research skills session on the OPVL. The OPVL is a strategy for evaluating sources—specifically, historical sources. Nonetheless, it can also be used to analyze the validity and reliability of information and sources we encounter everyday. Focusing on Origin and Purpose, I asked my students to evaluate information from both online and print sources. I prepared a variety— books, magazines and journals, posters and calendars, labels of kits, games and the like. And of course, social media posts. Working in pairs, they were able to come up with a review of their assigned source. They took away valuable insights on the importance of source analysis, along with the skills necessary to understand historical documents, their context, and their reason for being.

I often tell students that documents are alive. And that history is something we make every day.

A week before the Holy Week break, I met them again to discuss Value and Limitation in the OPVL framework. To identify these aspects in historical sources, it was important that we reviewed primary and secondary sources. This is actually prerequisite knowledge for source analysis and information evaluation. In a time when fake news has become inevitable for consumption, knowing the kind of source, its origin, and its intent is crucial. Applying Value and Limitation is very much connected to Origin and Purpose.

The most interesting part of our session was deep diving into the context of historical documents. They were tasked to determine the Value and Limitation of excerpts from Anne Frank’s Diary and Martin Luther King Jr.’s I Have A Dream speech. Their written output revealed a thoughtful approach to understanding the era in which these documents were written, and how the authors’ biases influenced their perspectives. Needless to say, the relevance of a source—as well as the truth it carries—is consequential to the reader.

FanSafetyPH: A Campaign for a Safer and Fairer Concert Experience

 

Happy Easter 2025!

 

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Kuwentong Bangtan: On Fandom Culture and ARMY Life

Fandoms have their own culture. They come with values, language, rituals, etiquette, and yes—even an unspoken hierarchy. This culture doesn’t appear overnight. It grows from the constant interaction between fans, shaped by the music, messages, and presence of the artists they support. As idols create and evolve, fans respond creatively—with art, translations, analysis, projects, and community-building. In time, this back-and-forth shapes a fandom’s unique identity.

For ARMY, that identity includes streaming, voting, buying albums, organizing charity drives, translating content, archiving memories, and showing up for each other and BTS in countless ways. These weren’t random choices. They were responses: to the times BTS were overlooked; to industry gatekeeping; to narratives that tried to erase or undermine them.

I learned these things when I entered the fandom.

When we streamed, we weren’t just chasing numbers. We were holding space for BTS in a world that refused to give it.

When we voted, we weren’t just competing. We were reclaiming dignity for seven young men who dared to dream in an industry that prevented them to dream for themselves.

When we bought albums, we weren’t flexing. We were investing in a story we believed in.

It’s understandable that new ARMYs who joined during BTS’ military era experience the fandom differently. You’re entering a community that’s already diverse, vast and complex. You fell in love with legends. I did, during the pandemic. Veteran ARMYs fell in love with the boys who had to fight to be seen as legends. My daughter did, during the Wings Era. That’s why some practices, like streaming or voting, still feel sacred to ARMY. It’s not about pressure—it’s about memory. It’s not just about what we do, but why we do it.

And one thing that makes being ARMY so unique is that, there’s no rulebook. No official checklist that says: “This is how you be a fan.” And that freedom is beautiful. People come to BTS for different reasons, and love them in their own ways.

But this is where culture comes in, where the unspoken “laws” quietly shape our actions. No one told us to stream solid BTS playlists 24/7 (not mixed with other songs of Kpop groups) during comeback week, we just knew it mattered. No one officially announced that birthdays would be marked with charity drives or art exhibitions. But it became a norm, because it reflected what BTS themselves stood for.

Fandom culture isn’t about control. It’s about shared understanding built on trust, love, and lived experience. And when that culture is strong, it helps guide us not as rigid rules, but as gentle markers of care and respect.

So when veteran ARMYs speak up about streaming, or when we tell stories of the old fanbase days, it’s not gatekeeping. It’s memory-keeping. It’s passing down not just what we do, but why we do it. And in turn, we also have to LISTEN to how new ARMYs are experiencing things now because the fandom is alive, and it changes with every new heartbeat that joins it.

ARMY, we are so lucky to be loved by BTS. Namjoon, in one of the Permission to Dance concerts in the US back in 2022, said something unforgettable. He acknowledged the overwhelming love they’ve received from ARMY, but he didn’t stop there. He said it was a love that must not be taken for granted.

And so, they give back.

The variety, the breadth and depth of the content they created, produced, and released during their military era is worthy of their acclaim as global artists of this generation. They didn’t disappear. They doubled down. They lived up to their name—Bangtan Sonyeondan—because they love us.

And for BTS, ARMY will always be their biggest, loudest voice.

Apobangpo! Purple and true!

zarahG and AMI

Poetry: A Blaze of Lights and Shadows

In the blaze of lights and shadows cast, I saw the best and worst of us.

Still, my love for BTS held fast—

a steady flame, a quiet trust.

To be ARMY is to be human still,

flawed but learning, heartful, and real.

Borahae, BTS! Gomawo, ARMY! Apobangpo!

Book Recommendations for April

@titazeeh7 Read a book! Have a good day! #librarypromotion #booktok ♬ Good Day - BTS

Summer Haiku 2

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Summer Haiku 1

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The Beacon Academy Library: Academic Writing Workshops 2025

Academic writing is a core skill in the development of critical thinking, scholarly communication, and research literacy among students. As part of the BA Library’s commitment to supporting learners across disciplines, this series of academic writing modules is designed to serve as a foundational program that aligns with instruction and extends learning beyond it. Through targeted lessons and scaffolded practice, the 12 modules offer students a structured and supportive environment to refine their writing process—from idea generation to final draft. Grounded in the BA Library’s mission to promote information fluency and independent learning, this initiative reinforces the BA Library’s role not only as a resource hub but also as an active partner in academic success.

The Lighthouse Diary #70: A Model Text for the Exploratory Essay 2 of 2

This is part 2 of the model text I wrote for the Exploratory Essay we require our grade 11 students to write. We have been conducting research sessions with our grade 11 students since February. They are in Phase 1 of the Research Design Cycle where selecting a topic, doing initial research and preparing an annotated bibliography are essentials. From here on, we will model the feedback mechanism that comes into play in a given exercise.

Exploratory Essay: Understanding Intertextuality as Literary Theory and Strategy in Selected Songs and Music Videos of BTS (2 of 2)

Spring Day is not the only song and music video where intertextuality is present in BTS’ exploration of justice, freedom and individual choices against cultural norms and social structures. In Blood, Sweat & Tears, a BTS track released in 2016, Hermann Hesse’s novel Demian: The Story of Emil Sinclair’s Youth is highly referenced as RM, the group’s leader and rapper, reads a passage from the novel while a silhouette of Jhope in blood red background shows him releasing a balloon. The music video contains explicit allusions to the loss of innocence, temptation, and duality. These themes are present in Hesse’s Demian particularly the story arc of Emil Sinclair. The line “He too was a tempter, he too was a link to the second, the evil world” is quoted verbatim in the video, underlining the text’s influence on BTS' exploration of coming-of-age and individuation. Nedelcu (2024) praises this merging of texts as a blend of the East and the West in pop-culture emphasizing the importance of leveraging literature into the mainstream.

BTS did not stop at Hesse. In the music video for ON (Map of the Soul 7, 2020), BTS utilizes biblical imagery and motifs reminiscent of John Milton’s Paradise Lost (Bishoff, 2024). The scene of fallen angels, doves, gates, and suffering heroes in the music video evoke Milton’s vision of rebellion and resilience. The themes of fall and redemption resonate with BTS' own narrative arc of struggle and their desire for transcendence– a way of breaking free from the manufactured and moulded systems of the KPop industry to find artistic freedom and exponential success outside of South Korea. To justify this message of breaking through moulds and the manufacturing line, the final track in the mentioned album, Dionysus, is a direct allusion to the bacchanalian Greek god whose drunkenness led to unbounded creativity. In Greek mythology, Dionysus is from outside the Grecian lineage. He is known to be an outcast who came to Olympus challenging the status quo (Suvani and Del Novo). By using Dionysus as metaphor, BTS laid claim to their agenda of conquering accolades, awards, sold-out stadium shows and a legion of ARMYs in the Western hemisphere. Through these intentional and artful intertextual references—from a movie, authors of renown such as Le Guin, Hesse and Milton to folkloric beliefs Greek mythology—BTS asserts its creative agency, reclaims narrative power, and positions its music as a space where literature, mythology, and pop culture converge to challenge norms and reimagine identity on a global stage. Intertextuality, in this case, is used as both theory and creative strategy that opens up to discourse, eliciting an emotional resonance to fans and audiences that keeps them engaged while basking in a newfound relevance in literature, culture and the arts.

 

BTS makes use of Intertextuality as a theory and creative tool to examine themes of justice, freedom and identity. By deriving materials and borrowing texts from literature, folklore and other forms of media, BTS’ songs and music videos are powerful storytelling strategies that challenge socio-cultural norms, promote artistic expression and provide the connection between idols and fans deeply. Given these statements, the working research question for this academic paper is: how does BTS use intertextuality as both a literary theory and creative strategy in their songs and music videos to challenge cultural norms, explore identity, and engage in global discourse?

 

To answer this question, I will be selecting three YouTube reactors that discuss BTS’ music videos from three albums, Wings, Young Forever and Map of the Soul 7, specifically the songs and music videos of Spring Day, Blood, Sweat and Tears, ON and Dionysus. I have identified five academic journals that studies the aforementioned music videos and the intertextuality present in each. I will draw from the analysis a critical review on each song and the texts and materials used to layer and deepen their meaning. By comparing academic perspectives with fan interpretations, I hope to uncover how intertextuality operates across scholarly and popular discourse, and how it contributes to the cultural impact and relevance of BTS’ work.

 

References:

Books & Academic Sources:

Baldick, C. (2015). The Oxford dictionary of literary terms (4th ed.). Oxford University Press.

Childs, P., & Fowler, R. (2006). The Penguin dictionary of literary terms and literary theory (4th ed.). Penguin Books.

Zengin, M. (2016). An introduction to intertextuality as a literary theory. Journal of Literature and Art Studies, 6(1), 74–84. https://doi.org/10.17265/2159-5836/2016.01.009

 

Online Articles & Educational Resources:

Matrix Education. (n.d.). Literary techniques: Intertextuality. Matrix Education. Retrieved March 18, 2025, from https://www.matrix.edu.au/literary-techniques-intertextuality/

TeachMedia. (n.d.). Media studies: Intertextuality. TeachMedia.co.uk. Retrieved March 26, 2025, from https://teachmedia.co.uk/media-studies-theory/intertextuality/

Suvani, V., & Del Nevo, M. (n.d.). Dionysus by BTS. Monash University Korean Studies Research Hub. Retrieved April 2, 2025, from https://www.monash.edu/arts/languages-literatures-cultures-linguistics/korean-studies-research-hub/research/the-story-of-a-song2/3-dionysus.-bts-%2C-2019

Lazore, C. (2024). A close read: Spring Day.

Savic, P. (n.d.). The relationship between literature and music in BTS. University of Split, Croatia.

Nedelcu, D. (2024). Blending cultures in BTS’ Blood, Sweat and Tears. LINGUACULTURE, 15(2), 54–67. Pop Culture and Audience Reception in a Transnational Context (N. Reagin & F. Năstase, Eds.). http://www.journal.linguaculture.ro

Bishoff, N. (2024). Revisiting Paradise Lost through K-Pop: A global approach to teaching writing. George Washington University.

Upcoming Book: Filipino Folktales for Children: Stories of Wisdom and Wonder

 

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The Lighthouse Diary #69: A Model Text for the Exploratory Essay 1 of 2

We kicked off our Extended Essay (EE) Journey last February, around the third week and we have been dwelling in topic selection; identifying sources that will inform us of breadth and depth of topics, using thinking tools such as the KWL-I Chart and Mind Maps to see connections and organize our thinking. Add to this is the relearning of Managebac as a platform to document our reflections as we learn and navigate in the EE. In previous years we would require our students to write a topic/research proposal and present it to a panel. Realizing the importance of "thinking slow" in this phase of the EE, and how crucial research and inquiry are, we thought of writing an Exploratory Essay. To help our students in this exercise, we sent and showed them model texts. 

Below is one of them, written by me.

Exploratory Essay: Understanding Intertextuality as Literary Theory and Strategy in Selected Songs and Music Videos of BTS

By Ms. Zee 😊

Of the varied specialized dictionaries, I used to establish a definition of Intertextuality, it is Julia Kristeva’s work that is consistently mentioned. Graham Allen’s recent work on Intertextuality (2020), which has a comprehensive and extensive coverage, is cited as well. These are the two scholars who have written extensively on the topic of Intertextuality; therefore, I will make time to do research on their publications to deepen and extend my knowledge on my chosen topic. For my exploratory essay, I will focus on establishing basic but foundational knowledge on Intertextuality.

 Kristeva posits that Intertextuality is a relationship between and among texts. This interplay of texts not only echo each other but undergo a transposition– something familiar and yet, it offers something new. Expressed through anagram, allusion, adaptation, parody, pastiche, imitation and other kinds of transformation, texts are drawn to establish an interdependence that emulsifies and amplifies meaning. The overlaying of texts is nuanced with the traces of texts from other sources, thus, the discourse surrounding this transformed text becomes padded. It offers the reader a variety of points of view and perspectives. The reader’s knowledge of different forms, genres and kinds of text is key in the understanding and appreciation of intertextual texts as a work of literature (Matrix Education n.d). When taken as a media product, texts that are produced using intertextuality have the power to hold the audience’s or the reader’s reckoning of contents or brands. In this case, Intertextuality when viewed as a theory allows open discussions on sources of information, knowledge and literature either literary or non-literary. Zengin (2016) further expands the theory of intertextuality as both an act of authorial production and reader perception. The meaning of an intertext is set upon its creation by the author but this evolves and changes depending on the reader’s interaction with the text. Intertextuality then becomes a never-ending process of meaning-making.

This brings to light the music video of Spring Day by the KPop group, BTS. There are three notable scenes and images that are fused together. The effect is an intriguing, almost luminous, message on loss, longing and the desire for justice in a seemingly hopeless world. The explicit use of Omelas to name a hotel/dorm harkens to Ursula Le Guin’s riveting short story; the lone train traveling in a wintry landscape is reminiscent of the post-apocalyptic movie, Snowpiercer (2013); and the folkloric image of a pair of shoes hanging in a tree branch magnifies the yearning for freedom and individuation. These borrowed texts provide a layered and emotionally textured narrative that invite viewers to discuss and reinterpret the message through literary appropriation, allusion and socio-cultural phenomenon. Even the song lyrics are picked up by fans and casual audiences contributing to a rich discourse on pop-culture and its relevance of storytelling to the human condition (Lazore, 2024). By referencing images and literary elements from a short story, a movie and folkloric beliefs, Spring Day as a song and music video transforms into a story that fans and casual viewers discover as both mystical and illuminating evoking a variety of emotions and multiple interpretations. Spring Day has never left the MelOn Charts since its release in 2017. It has won numerous awards in South Korea and has been performed in different artistic forms since then.

Illustrator of the Month: Juno Abreu

The Bologna Children's Book fair is on going as I type this feature article in my blog. Our book series, the Disaster Kids Series: Earthquake, Flood, Fire and Volcanic Eruption (Gagatiga and Abreu, 2025 Lampara Books) is on display right now at the Bologna Children's Book Fair. Of the 120 books selected in the rights catalog, our series made it. How timely that Juno Abreu, architect and illustrator of children's books sent over his answers to my questions for a blog interview.

And so, a few weeks after the successful launching of the Disaster Ready Kids Series at the Philippine Book Festival, Juno shares his creative process more extensively in this blog interview.

1. Each book in the Disaster-Ready Kids series tackles a different kind of calamity, yet your illustrations maintain a cohesive visual identity. How did you develop the overall look and emotional tone for the series?

I started by researching the target age group and the types of disasters that would be covered in the series. I wanted to create a visual identity that would be both engaging and reassuring for young readers. I experimented with different styles, I tried doing them traditionally with watercolors but I guess the look doesn’t exactly work on the series, so I tried doing them digitally and found a new style for the overall look, this is actually the first time I did the illustrations in this kind of style and I really liked how it turned out and found a cohesive look that would work across various disaster scenarios. I settled on a warm, inviting color palette to create a sense of depth and texture. Throughout the series, I aimed to maintain a consistent  emotional tone that would help children feel empowered and prepared, rather than scared or overwhelmed.

2. Your characters show such expressive faces– from fear to courage to relief. What’s your process in capturing the emotions of children in high-stress or emergency situations?

Capturing the emotions of children in high-stress or emergency situations requires a thoughtful and empathetic approach. To get into the right mindset, I try to imagine how a child might feel in a given situation - whether it’s fear, anxiety, or courage. I remembered feeling a bit anxious while doing the illustrations for putting and imagining myself in these scenarios. Hehe.

Also, this is kinda embarrassing to admit, I’m not sure if other artists do this too, what I do is, I put a mirror on my work desk and do the facial expressions myself and use it as reference. Haha! 

When illustrating a scene, I try to tap into the emotional tone of the story and convey it through the characters’ faces and body language. I believe that by showing a range of emotions, we can help children understand that it’s okay to feel scared or overwhelmed, but also that they have the power to stay safe and take action.

3. From fire to flood, you’ve illustrated a wide range of disasters. Were there particular scenes or scenarios that challenged you the most as an artist?

    One of the most challenging scenes and also my favorite spread was the volcanic eruption. I had to research and accurately depict the safety measures and precautions that people would take in such a situation, also, the details were much harder to do in terms of illustrating. 

Another challenging scenario was illustrating the earthquake scene. I had to balance the need to convey the danger and urgency of the situation with the need to avoid scaring or traumatizing young readers.

Overall, the biggest challenge was finding ways to depict potentially frightening or disturbing scenarios in a way that was both accurate and accessible to young readers.

4. What was it like working on  a series where your art could help children understand danger but also feel empowered and safe? What message did you hope your illustrations would carry?

Working on the Disaster-Ready Kids series was a rewarding and challenging experience. I hoped that my illustrations would carry a message of empowerment and resilience, showing children that they have the power to stay safe and take action in emergency situations. I hope that the Disaster-Ready Kids series will inspire young readers to take an active role in their own safety and well-being, and to develop a lifelong commitment to preparedness and resilience.

Visit Lampara Book's FB Page and IG account for updates on our books' availability. We can't wait to meet you again for book signing and photo ops!

The Disaster Ready Kids in Books Philippines Catalog, Bologna Children's Book Fair

 

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Poetry: At low tide

 

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