Bangtan Herman Notes: From Me to We: On Personal Joy and the Collective and Communal Nature of Fandom

RC Muñoz’s autograph post. Ticketing battles won or lost. Barricade flexes and seated preferences. Again and again, fandom conversations circle back to this: personal joy versus collective care.

On the surface, fandom looks like a string of individual stories: I got lucky, I persevered with my iPhone 16, I saved for years. Social media magnifies this focus on the self, rewarding posts that showcase proximity or possessions. Hyperindividualism at its finest at a time of war, division and uncertainty. It is no surprise that the prevailing mindset becomes: “I’ll celebrate my way, and that’s enough.” It does not help that in a capitalist consumer culture, fandom is too easily reduced to what we buy, what we hold, what we can show.

The artists we stan becomes COMMODITY.

But fandom is not only personal. It is also communal. Lighting the MOA Globe purple, singing in unison at concerts, streaming in circles, organizing cupsleeves events and watch parties. These are not solitary acts; they are rituals of community and belonging. And as Clifford Geertz (1973) reminds us, rituals are texts we interpret. To do a “thick description” of fandom* is to see beyond the surface gesture and into the layered meanings: a light on a globe is not just electricity, it is longing, belonging, a collective claim to space. A cupsleeve is not just paper, it is memory shared over coffee, proof that ARMY is plural.

So why does individualism still prevail? Because it is the language capitalism teaches us. Because “celebrate your way” is easier than asking “who gets left out?” Because envy is deflected by shrinking fandom into personal coping, rather than expanding it into communal and relational accountability.

The challenge is not to erase personal joy, RC’s happiness is hers, barricade victories are theirs. The challenge is to keep joy mindful. Joy is sacred. And in fandom where fangirls are prejudiced, A WOMAN’S JOY IS SACRED. To celebrate with gentleness, knowing others were scammed, excluded, unlucky. To remember that purple is not just a personal color, but a shared one. These all point to connection and community despite individual differences.

Maybe ARMY’s work is to resist fandom being flattened into “me” and recover the “we.” To thicken our descriptions of what it means to be fans not just as consumers, but as companions, co-creators, caretakers. BTS has always reminded us that we never walk alone. That they are more than idols, artists and products of an industry. They are people. And in their art and music, we find humanity. BTS never sang alone, and neither should we.

Apobangpo. Purple and true.

* Geertz defines thick description as a method of interpreting culture by attending not only to observed behavior but also to the context and meaning behind it, like “sorting out the structures of signification” through which people make their actions meaningful (The Interpretation of Cultures, 1973, p. 6).

#BangtanHermanaNotes #ARMYAfterThoughts

Bangtan Hermana Notes: The Many Ways to "Purple You"

 

Book Review: BTS: A Little Golden Book Biography (2 of 3)

In Part 1 of this series, I reflected on the cultural and emotional weight of BTS: Little Golden Book Biography and how its very existence feels like a milestone in both early literacy and BTS’ legacy.

Now, with the digital review copy from Penguin Random House, I’ve had the joy of reading it cover to cover. What I found was more than just a charming children’s biography. It was a tender, artful retelling of a story ARMY knows by heart, filled with details that speak to both newcomers and long-time fans.

Here are my impressions.

Part 2: My Reading Impressions of BTS: Little Golden Book Biography

The underdog narrative was kept and honored in this book without being judgmental or accusatory. It's told with the tenderness of a story that knows where its heart is: in the long, winding journey from obscurity to the global stage.

ARMYs, believe that "1 is 7; 7 is one." This belief is beautifully presented on the very first page: all seven members in a huddle, with Suga facing away as he always does in these moments. That detail alone made me smile. From there, the book unfolds with each member's origin story, a tale every ARMY knows by heart, yet one that never loses its magic in the retelling.

The illustrations are simply adorable, soft, endearing, and, I suspect, rendered in watercolor. If so, my oh my! All the more reason for me to love this book. The gentle palette and expressive lines make the storytelling even warmer, inviting young readers into BTS' world with ease.

As a school librarian, I find BTS: Little Golden Book Biography worthy of acquisition. Call it my bias if you must but consider this: how many students in your school love K-pop and are fans of BTS? How many readers in your learning community are ARMY? The presence of this book in a school library is not just about fandom; it is a message of representation and a nod to the benefits of learning from pop culture and its influences.

In my next post, I'll share activities you can do in the library or at home using this book as a springboard to expand and extend the reading experience.

Read part 1 of the series here, Kuwentong Bangtan: BTS A Little Golden Book Biography (1 of 3)

As the release date draws near, the celebration goes beyond my own reading joy. In Part 3, I’ll share how the ARMY of Bangtan will mark this milestone through a month-long blog tour along with a guide for parents and school librarians to make the most of BTS: Little Golden Book Biography in nurturing young readers.

Kuwentong Bangtan: Who is BTS in our lives?

On ARMY Day, I reflect with gratitude on a journey that began with my ARMY daughter and BTS. For me, it has always reached beyond music; beyond the Purple ocean or universe. From day one, transcendence was apparent. It was already in motion. Not during the enlistment era or after, when all members have all been discharged. For who in Kpop would dare reference Omelas and Snow Piercer in a song of loss, longing and emancipation?

At the 4th BTS Conference in the University of Malaya, I had the honor of standing among scholars and fellow aca-fans who continue to explore what BTS means in our lives. For many of us, BTS was not just a gateway into K-pop and newer music or transmedia storytelling. BTS was, and still is, a lifeline. Their music helped us heal. It gave language to our silences. For some, it even became a form of decolonization, a path toward reclaiming joy, self-worth, and belonging.

It has been my lived experience. It was never about image or optics. It was speaking one’s truth, and holding power and accountability for myself and others I hold in high esteem. And having one’s own understanding of this dynamic, parasocial it may be, is the pre-requisite for realignment.

Before we can realign our purpose as ARMY, we must first ask: Who is BTS in our lives? Not just as artists, (and in delulu moments, partners even lovers; in worst cases, commodities we can simply consume) but as companions, teachers, mirrors, and catalysts. Our answers to that question shape the kind of fandom, fanbase or fan group we choose to build, one rooted in authenticity, reflection, and care.

ARMY as a fandom has changed in the last three years; and so are the Tannies and the industry they disturbed and helped change. Newer entry points into K-pop will continue to emerge, and we welcome them. But they also remind us that BTS’ story is still unfolding. And so is ours. ARMY. Whatever this is going to look like or will be, our history and culture which began back in 2013 can become pins of light. Whatever this will bring us, I am here for the ride.

Finally, I honor Zoe, who, to this day is still surprised I became ARMY. A story I will never tire of telling. And of course, much love and appreciation to the Tita ARMYs who are my companions in this ever-evolving journey. We may not all be published or cited as Bangtan scholars, but we have done the quiet, steady work of remembering, creating, caring, and holding space.

You know who you are. Happy ARMY Day! Borahae!

Zarah Gagatiga 7.10.25

Kuwentong Bangtan: The Return Is the Ritual Reflections on BTS, Community and Why We Feel Safe

Last night, BTS went live on Weverse as seven. Their first group live after completing their military service. No fanfare. No flash. Just the seven of them sitting together: talking, teasing, and laughing like no time had passed. Our chaotic 7 whom we missed so much.

My daughter watched it and posted an edit she found on Tiktok showing the last live OT7 had in September 2022 and the one last night post-military. Her caption read: “It's like they never left.”

She’s right. That familiar rhythm; the way they lean into each other; listening in and taking a cue from a planned message for ARMY; the inside jokes; the tone of their voices when they’re together. It was all there. And it made so many of us feel "safe".

An ARMY in the comments said, “Why does this constancy always make me feel safe?” And I have been thinking about this all day-- on top of my online classes, a deadline to beat and a training manual to finish.

Maybe it’s because we’re so used to things shifting, especially now on social media where our digital lives are ruled by algorithms and AI. Things move so fast and change happens in a blink of an eye before we can even make sense of what has passed. In the same vein that fandoms and fanbase change. 

People leave. We get abandoned.

Trends rise and fall. We wonder where to anchor our beliefs.

But BTS? They show up. 

Even after everything. Even after the distance and the silence, they return, not just to the stage, but to us. And that kind of showing up is rare.

ARMY, we all saw them last night-- and in succeeding posts of ARMYs and fans, form translations, clips, memes and reactions. They are returning strong and transformed, but comforting and familiar. Like nothing has really changed.

My daughter continued the conversation and added something she read online: “The price of community is inconvenience.” That line stayed with me because it is true, but, there is a nuance to it. Community isn’t effortless. It means choosing to be present. It means communicating and articulating honestly that things are changing. That at some point, people will pause and keep silent. And in the downtime, there are those in the fanbase who chose to stay with BTS while in conscription. It’s not easy. Even when you're tired or busy or uncertain, joining the live, commenting, streaming, defending, celebrating. These are all part of this quiet work of being together.

The thing is, ARMYs are not just fans consuming content. We’re participants in something built over years. Being part of ARMY means giving time, attention, care. And in a world where hyper-individualism is often rewarded, choosing community, choosing to show up, can feel like rebellion.

The conversation continues when an ARMY chimed in, saying: “Good thing we can do both! My individual-ness might not be able to take it.” And there’s the beauty of it, we can do both. We don’t have to erase ourselves to be part of something bigger. BTS shows us that. Their bond isn’t about sameness, it’s about connection. It grows and changes, but it doesn’t disappear. It evolves, and yet, somehow, stays the same.

That’s duality. And it’s comforting.

With BTS and ARMY, it is not the spectacle or the performative fangirling that is already a stereotype among Kpoppers-- no offense meant. What holds BTS and ARMY are the rituals that have been built overtime. Not the comebacks but the returns. Jin performing live a day after discharge and hugging 1,000 ARMYs. Hoseok allowing Jin to sing Spring Day with him on 613. JK being present for 2Seok in Jamais Vu. And Yoongi, donating millions for the care of children in the spectrum. The live last night felt like home because they have always been with ARMY through two years of being away in the military.  

And the joy ARMY felt? It’s not just from new music of Jin and Hoseok or the big announcements of an album and a world tour. It’s in the rhythm of presence. In the trust we’ve built, slowly, over years.

The return is the ritual. And in that, we are never really lost. We never walk alone.

Kuwentong Bangtan: The Message of BTS' OT7 at HOTS Final 2025

 

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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.

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.

Kuwentong Bangtan: The Anima and the Gemini in J-Hope's Sweet Dreams

J-Hope’s Sweet Dreams (ft. Miguel) and the campaign leading up to its release have been nothing short of phenomenal. He performed it in the concert in Seoul prior to its official date of release making the experience a treat for fans and ARMY -- that was beyond special. What with the sweet and wholesome concept photos, we’re all left wondering where the sexy and sensual lyrics fit in the music video. At last. It is here!

After 12 hours – and more of live broadcast on Weverse that includes a fan meet (this is another story worthy of remembering in BTS History) today, fans and ARMYs from all over had it in full. The memes are out and comeback theories abound. This is me, jumping in the bandwagon.

Because I’m a big fan of Map of the Soul 7 and the Jungian framework from which it is based on, it is from this lens that I will base my theory.

The MV of Sweet Dreams is a striking fusion of sensuality and introspection, both in its sound and its visuals. The music video presents a world in chaos—his house flying, structures crumbling—yet in the end of, he meets a woman on the road and smiles at her. Through a Jungian lens, this imagery suggests the house as a symbol of the Self, while the woman represents the Anima, the unconscious feminine energy that serves as a creative and emotional guide. The timing of the release, following his military service and in the midst of Hope on the Stage Concert Tour, makes this moment even more significant. It is a meeting not just with another person but with a deeper part of himself—a grounding in his artistic roots even as the world around him shifts and changes.

At first glance, the sensual lyrics of Sweet Dreams seem to contrast with this interpretation, but they actually reinforce it. The Anima is not only an abstract muse; she is a source of intuition and passion. By including desire and pleasure in the song’s lyrics, Hobi is embracing the physical and emotional impulses that fuel his artistry. Creativity is not just about thought—it is deeply felt, instinctual, and alive in the body. The meeting with the Anima in the MV, then, is more than just recognition—it is a surrender to his true artistic self, a recovery of the emotions and desires that drive his creative expression.

It is interesting to note the word “Gemini” in the lyrics which can also be the embodiment of the Anima representing Hobi’s internal dialogue between two sides: one who dreams (cue in Future) and one who doubts (cue in What if). What ties this metaphor of the Gemini in the zodiac to the Anima of Jung is its balance and mediator role between opposing views be it conscious or not. The Gemini girl could be the voice that leads him into the realm of dreams where emotional honesty opens to the road of transformation.

This moment ties into HOTS Vol. 1, representing a return to Hobi’s roots in movement and expression. The chaos symbolizes destruction, but his smile as he meets the Anima/Gemini girl shows acceptance and trust in what comes next.

BTS is consistent in their messaging of change, growth and evolution. These themes span 5 eras of their discography. As the Military Era comes to a close in three months, we are seeing a BTS in constant motion and movement. The beautiful thing about their on-going narrative is that, they remain tethered to their roots as they clear paths and pave new ways of creative expression.

Only Bangtan! Apobangpo! Purple and true!

Kuwentong Bangtan: The Breadth and Depth of BTS' Discography & Hope On the Stage Seoul

J-Hope’s 3 day concert #HopeontheStage in Seoul finally ends. The tour will commence in a few weeks, making its first stop in the US. For us, ARMY, it wasn’t just a concert—it was a story told through music, dance, history ans Bangtan lore that die hard and veteran ARMY know by heart.

From the very first song, “What If”, he set the stage for an introspective journey, questioning realities and possibilities; entertaining doubts versus potentials of growth. As the setlist progressed with “Pandora’s Box” and “Arson” we saw him confront the weight of ambition, the struggles of being in the industry, and the fire that has both fueled and challenged him. This wasn’t just a performance; it was a narrative of self-exploration and resilience, revealing the depth of his artistry beyond the bright and energetic image many associate with him.

The turning point of the concert, at least for me, came with “1 Verse”, a decade-old track that still holds its power. This moment wasn’t just about nostalgia—it was a reaffirmation of his identity as a rapper, an artist, and someone who refuses to be boxed in. From there, songs like “Mic Drop”, “Dis-ease”,and “Outro: Ego” became acts of reclamation—Hobi taking ownership of his journey, his craft, and his future. And yet, even in his solo stage, BTS was never far from the story. As he performed “Neuron”, a tribute to his dance crew, scenes of BTS’ dance practices played on the screen, weaving his personal journey with the group’s history. The intertextuality of the performance was breathtaking—it showed how Hobi’s evolution is inseparable from BTS’ legacy.

This is why BTS remains irreplaceable for ARMY. Hope on the Stage wasn’t just about J-Hope proving himself as a solo artist; it was about him carrying BTS’ history forward while paving new paths. He isn’t leaving BTS behind—he’s taking us, ARMY, with him into the future. Watching this concert, even online, reinforced why we are here for life. This is more than music. This is a story of dreams, struggle, and triumph, told in a way only BTS—and J-Hope—can.

To casual fans and listeners, to concert-goers who secured a ticket by whatever means, I do hope you at least take these points into consideration. You will enjoy the concert, too, and perhaps understand why ARMY can be overtly proud and so generous in sharing the joy of BTS while at the same time being protective of them.

This is what we mean when we, ARMY, say #BTSis7. Apobangpo! Purple and true!

My BTS Inspired Reading List for 2025

 

Advent, BTS and Cyanotype Printing

Inspired by RM of BTS’ full length album, Indigo, I ventured into learning Cyanotype printing early this year. With the help of Enzo Abalayan showing me how to make prints, I was further motivated to learn this new skill as my ARMY Glow Up 2025 project. Collaborating with the talented Sin So, my Tita ARMY chingu, we were able to design tote bags that were sold at the bazaar during the Pearl ARMY Festa of 2024. It was a special endeavor and personal project since part of the proceeds funded my parents’ medical care. Needless to say, being ARMY and my fangirling has led me to graces I never asked for. Believe if or not, I find God there in all His amazing glory.

Since then, I would make prints as a mental health break. Keeping a few in a portfolio that may lend to a new project in the future. When I received an invitation from friends in Magis Deo to share something for our kids, teens and young adults in the community, I immediately said yes.

I thought about conducting a Cyanotype printing workshop for our Magis Deo Youth. The idea made me happy. I looked forward to the activity during an exhausting but productive week in school. I was going to share a skill that began as an ARMY Glow Up 2025 Goal under AGU Recreation and proud that I learned it from a former student. What’s more, I was excited to connect Cyanotype printing with the message of Advent.

Advent is the season of waiting. Advent is the season of light breaking through the shadows.

Advent is a time when we are called to recognize and accept change.

Advent is an opportunity for transformation.

Cyanotype printing, with its vivid blue tones and shadowy, ethereal imagery, has a poetic resonance with the season of Advent. Cyanotypes capture light in a unique way, creating images through sunlight exposure. This parallels Advent’s theme of light emerging from darkness, as cyanotypes reveal delicate forms and shadows when exposed to light, symbolizing hope and revelation.

Since Advent is a season of waiting and preparing for light to break into the darkness, Cyanotype printing follows a similar process that involves anticipation, patience, change and transformation. Such abstract ideals, beliefs and concepts may be too far off to be fully understood by children — even adults. To enrich our context of Advent as we all prepare for this season of hope in chaotic and confusing times, an art activity such as Cyanotype printing may prove meaninfgul for the child and the child at heart.

Our Magis Deo Youth participants in this morning’s Cyanotype Printing activity brought home their hand made cyanotype greeting cards and “photographs”. Glad and grateful to learn something new as well as making art that restonates with the anticipation and joy of Christ’s birth.

Kuwentong Bangtan: Han Kang and Bangtan Sonyeondan

At the Intersection of Art, Literature, Music and the On-Going Quest for Peace is BTS and Han Kang

Human Acts by Han Kang is a haunting novel that explores the brutal aftermath of the 1980 Gwangju Uprising in South Korea. Through interconnected narratives, the book delves into the trauma, grief, and resistance of those who experienced and survived the violent suppression of the pro-democracy movement. 

Han Kang's powerful writing exposes the personal and collective scars left behind, reflecting on the cost of fighting for freedom and human dignity. 

BTS' "Ma City" connects to Human Acts through its celebration of hometown pride and history, particularly for members like J-Hope, who hails from Gwangju. The song’s energetic homage to the members’ roots contrasts with the somber history of Gwangju, yet both works emphasize the deep ties between people and their origins. While Ma City focuses on pride and identity, Human Acts highlights the sacrifices made for freedom, reminding us that the history of a place is intertwined with both its joy and its pain. 

Congratulations, Han Kang for winning the 2024 Nobel Prize for Literature! 

Thank you, BTS for creating songs to remind us all that “we are what we were”! HOPE IS COMING!

Kuwentong Bangtan: Demian X Wings by BTS

Demian by Hermann Hesse is a coming-of-age novel that explores the inner journey of self-discovery, individuality, and the duality of human nature. Through the protagonist, Emil Sinclair, the story delves into the tension between light and dark, good and evil, and the struggle to embrace one’s true self. Sinclair's relationship with Demian, a mysterious figure who guides him toward a deeper understanding of life’s complexities, mirrors a journey toward enlightenment and self-acceptance.

BTS' "Blood Sweat & Tears" from their 2016 album, Wings, connects deeply with the themes of Demian. The song reflects the intoxicating struggle between temptation and innocence, pleasure and pain—parallels to Sinclair’s internal conflict. The lyrics and visuals in the music video, with its allusions to art and literature, symbolize the painful yet transformative process of growth and breaking free from societal constraints, much like Sinclair’s spiritual awakening in Demian. Both works express how one must face both the darkness and light within to truly find oneself.

Happy 8 Years, Wings! Happy 8 Years, Blood Swear & Tears!

Kuwentong Bangtan: Angry Streaming for Min Yoongi

Kuwentong Bangtan: Transcendence in Language and Music Bangtan Style

Back in August 2021, BTS had an interview for TIME where Namjoon stated their goal of transcendence through language and music using them as means to break barriers and cross borders. It is no wonder that singing English songs was a step towards the goal. Including sign language in PTD amplifies this goal even more. Hobi explained the gestures and the signs in an interview at SBS in September of the same year.

@titazeeh7

From the interview in TIME magazine last August 2021, Namjoon and BTS speak of language and music as transcendences 💜

♬ original sound - zarahg08 - TitaZee

Fast forward to 2024, Namjoon combines three languages in Domodachi: Korean; English and Japanese. It is an uncanny combination but the song makes perfect sense! And then we have Jimin who communicates his love for ARMYs in Smeraldo Garden Marching Band and signs L-O-V-E for the dance challenge.

One would think that doing so is their way of catering to an international audience. A marketing and business move. Nothing wrong there but there is undeniable joy and sincerity in their performances. They proudly speak of their happiness in pre-recorded interviews and WV posts.

Their dedication to breaking language barriers and reaching out to fans from all corners of the world is more than just a strategy—it's a testament to their love and appreciation for ARMY. By embracing multiple languages and incorporating sign language, BTS continues to innovate and connect on a deeper level. It’s this sincerity and joy that make their performances resonate so powerfully with fans globally. As we look forward to their future endeavors, one thing is clear: BTS will always find new ways to bring us together.

Sources:

TIME interview: https://youtu.be/iZJfVYb2w9w?si=nDe9iMpvWgGSfbQK

SBS interview: https://youtu.be/p1d3aaDGtL4?si=N_npi5_h7uJ7sPFt