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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ARMY Glow Up 2025: Block Prints

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Author Interview: Khristian Ross Pimentel

I was pleasantly surprised to meet Khristian Ross Pimentel at the Philippine Book Festival. We met in a DepEd training in Antipolo on children's story writing and illustrations previous to the pandemic. He is now a published children's book author under Johnny and Hansel Publications. He was at the PBF 2025 to sign books. Congratulations, Khristian! 

When I asked him for an interview in the blog, he agreed. And so, I present to you, Koko's World by Khristian Ross Pimentel.

1. What inspired you to write Koko's World?

My newest book from Johnny and Hansel Publications is entitled Koko's World (Ang Mundo Ni Koko), in which the character was drawn from one of the spreads of my wife Cathy's previous book where our characters KatKat and Bunso were running together with a boy.  We both thought of writing a new story about that boy. I decided to call him Koko.

In 2023, our daughter Katniss was diagnosed with autism spectrum disorder (ASD) when the idea was conceived. As a children's book collector, I notice that there are very rare books that tackle or explore ASD as a topic on children's books although this was already popular as early as 1990s based on my research. Most of the story books that are available in the market are for elementary school children.  Our goal in this book is to cultivate awareness among very young readers that although we may all be different from one another, we can all live together in the same world. If parents and young children understand inclusivity, it is possible to make a better world.

2. Can you share your writing process—do you follow a routine, or is it more spontaneous?

Some of my works are products of ideas or concepts that arrive out of the blue. I usually write them down in my notebook or type them on my phone. Sometimes, I just keep on thinking about it, and when I can no longer contain the excitement, I write the first draft. Other times, some stories need to stay in a folder for a while. I get back to them whenever I encounter experiences related to those characters, conflict, or theme.

 

3. What do you hope readers take away from your book?

Like our strong belief in our previous books, we are confident that a story of a child with special needs is necessary and timely as cases are still rising and communities need to create a world that will be inclusive to all children.  As parents, we want our child to live in a world that acknowledges, respects, and values differences and inclusivity. We long for a world where everyone will accept our children the moment they leave our home. A world where they can be who they want to be. A world where they can be safe and loved.

Short Bio

Khristian Ross P. Pimentel or Coco graduated from Philippine Normal University and from the University of the Philippines Diliman, where he is currently taking courses to earn a PhD degree. Coco won some literary awards including an honorable mention in 2022 PBBY-Salanga for the story The Visit.  He is also a published author of Ang Mahiwagang Kahilingan Ni Papa Gong (Environment Management Bureau, 2023), The Visit (Johnny and Hansel Publications, 2023), The Magic Words (Chikiting Books, 2023), and Ang Itlog Ni Bunso (Johnny and Hansel Publications, 2022). 

Coco loves collecting books, reading, blogging, telling stories, writing, and most of all, teaching. He works as a master teacher in Antipolo City. He lives in Antipolo City with his wife Cathy and daughter Katniss Isla.

Description of the Book

From the makers of Ang Itlog Ni Bunso and Isang Daan Mata comes another story about a world where everyone belongs. Koko’s World (Ang Mundo Ni Koko) by Johnny and Hansel Publications is a story of a young boy who behaves differently from the other children. When the people around Koko do something, he often does the opposite. Will others understand Koko? Will Koko understand the people around him? Get to know Koko and enter his world. This book is intended for children ages three and above.

 

To buy Khristian Ross Pimentel's books, you may reach the following platforms:

Johnny and Hansel Publications, Inc.

Facebook: https://www.facebook.com/johnnyandhansel

Email: johnnyandhanselpublications17@gmail.com

Website: https://jandhpublications.com/?fbclid=IwY2xjawJOECpleHRuA2FlbQIxMAABHZ_F0p4vXH_QCeQ_w_sOoy8jagF5X3J1UqRlGvArGuM6dfF32T1pGxNDwg_aem_0tyLCCBPePC-og164pVLdA

 

Books, Beats and BTS: He's Always Been This Hoseok

When Hoseok danced inside the elevator in the Butter MV, I was wrecked. He filled that small rectangular space with light and joy. His energy grabbed me in and my heart that was isolated by the pandemic opened to full bloom. Hoseok has that power. Hoseok has that charisma. This led me to listen to his first album, Hope World. It was illuminating in its playful riddling of life lessons and offering comfort along the way.

That’s why, I always believed in Jung Hoseok—not just as an idol, but as an artist, a visionary, and a storyteller. Long before the world applauded or stood in awe at his solo concert, I saw the spark. I saw the depth behind the smile, the intelligence behind the dance, the brilliance behind every verse.

Referencing Twenty Thousand Leagues Under the Sea (Jules Verne, 1869) in his debut album wasn’t just source of inspiration. It was proof of the world he was building, the worlds he would take us to. As one of the pioneers of science fiction, Verne explored the themes of autonomy, curiosity and freedom in Captain Nemo— the same way Hoseok explored identity and agency in a highly structured industry while seeking for harmony. That kind of imagination, passion, discipline, and heart? That’s not ordinary. That’s Hoseok.

So today, as he takes the stage alone—bold, brilliant, and unapologetically himself—I want to say: To me, he’s always been this Hoseok.

And I’ll keep believing in every version of him yet to come.

#BTS_Jhope

My Five Characteristics of Children's Literature and Young Adult Literature

I was invited by college students from the UP Diliman Institute of Library and Information Science to give a lecture and author talk for a class of National Service Training Program (NSTP) students. I was tasked to provide them with ideas, concepts, and insights into my writing life. The class is assigned to write stories for children as part of their Literacy Training Service (LTS), a program focusing on teaching literacy and numeracy skills to communities.

For this engagement, I structured my talk into three sections: first, exploring what stories are; second, sharing my book Dear Nanay and the story behind its creation; and third, providing input on my personal writing process. During the session, students had the opportunity to ask questions, one of which was about my use of AI in writing. I responded openly, sharing that I do use AI and maintain transparency with my team and publisher. I explained that AI acts as my "thinking buddy," particularly in the pre-writing stage where generating ideas and exploring topics becomes more dynamic with its assistance. However, I emphasized that authorial choice remains central. At the end of the day, I make intentional decisions about what goes into my writing.

Another interesting discussion arose around bias and stereotypes. We acknowledged that biases are inherently present in all of us, making it impossible for stories to be completely bias-free. Instead, I encouraged the students to develop awareness of their own biases as well as those of others. This heightened awareness allows us to manage biases constructively, openly communicate about them, and collaboratively decide on the best approach when creating stories.

Additionally, I emphasized the importance of understanding the distinct characteristics of Children's and Young Adult Literature based on my experience as school librarian and children's book writer. Here they are, as shared during the Zoom call:

1. Children's and YA literature is the literature of hope.
2. Children's and YA literature celebrates our inner child and childhood experiences.
3. Children's and YA literature is the literature of legacy.
4. Creators of Children's and YA literature thoughtfully consider their audience's reading and literacy skills.
5. Children's and YA literature involves adults who care for children and teens, giving them agency and influence in selecting and using stories.

Finally, I shared with the class my new books, which will be showcased and available for purchase at the upcoming Manila International Book Fair in September. My heartfelt gratitude goes to Prof. Dan Dorado for initiating and leading this meaningful class project!

NSTP stands for National Service Training Program.

It's a Philippine civic education and defense preparedness program required for tertiary (college-level) students, established by Republic Act No. 9163 in 2001. The program aims to enhance civic consciousness, defense preparedness, and community service among Filipino youth.

NSTP has three components, from which students must choose one to complete as part of their graduation requirement:

1. Reserve Officers' Training Corps (ROTC) – Military training for defense preparedness.
2. Civic Welfare Training Service (CWTS) – Activities focused on community service and improving the quality of life.
3. Literacy Training Service (LTS) – Programs focused on teaching literacy and numeracy skills to communities.

Most students choose between CWTS and LTS, while ROTC is specifically oriented toward military and defense training.

Start Right Reading Series New Edition 2025: Level 2

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Start Right Reading Series New Edition 2025: Level 1

 

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Kuwentong Bangtan: Climbing Upward and Inward

Once again, Joon went for a climb to the summit of Insubong Peak (인수봉) in Bukhansan National Park, as indicated by the signpost beside him that reads “신선대 정상” (Sinsundae Summit) at 726 meters.

Like Joon, I go out for walking and trekking. Where I live, we are still blessed with spaces for walks and the like. Each step I take is a conversation with the land, each breath a moment with myself. The soil, the ground, the earth holds memory and the vast sky welcomes every version of me — who I was and who I have become.

I have yet a real mountain to climb, but I know what it means to return to a place I have journeyed before. The landscape may look the same, but I am not. Some things remain. Some things change. This is true of the world around us and the world within us. What new perspectives can one take when the view is familiar, but the soul has shifted?

Perhaps the climb is not just upward, but inward, too.

And this is what I truly love about Joon. Why he is my ultimate. Even in pictures, he has the power to bring me to places where I can rediscover and regain a sense of self. A sacred pause into the wilderness. Never without presence.

Truly, we never walk alone.