When Grant Muāgututiʻa was a boy growing up in Oceanside, his love of the Samoan language took him to the homes of community elders who would regale him with stories that had been passed down through the generations.

When he was a student at the undergraduate, graduate and postgraduate levels, linguistics took him to some of the cradles of Polynesian culture: Samoa, Hawaii, New Zealand and back to Hawaii.

And when he was seeking his first tenure-track job in the field, linguistics took him to Cal State San Marcos as an assistant professor in the liberal studies department five years ago.

Muāgututiʻa, though, never could have dreamed that linguistics would take him here – on the shores of Oʻahu, the waves lapping at the sugary sand, as he walked the blue carpet (yes, blue) and rubbed elbows with Dwayne “The Rock” Johnson and other stars of the Disney glitterati before the world premiere of the animated film “Moana 2” last November.

“It wasn’t even in the realm of my imagination,” Muāgututiʻa said. “But it was an awesome experience.”

You don’t think of linguistics, simply defined as the scientific study of language, as intersecting neatly with a visual medium like cinema. And indeed, Muāgututiʻa was more than a little caught off guard when the filmmaking team behind the sequel to the wildly popular movie “Moana” from 2016 contacted him out of the blue two years ago.

They were seeking a linguist to lend an air of authenticity to character names and other language used in “Moana 2,” which picks up the story of a young heroine from ancient Oceania who’s called by the ocean to go on an epic wayfinding journey. Muāgututiʻa might not have been expecting the directors’ call, but he certainly was a qualified candidate.

“As far as I know,” he said, “I’m the only Samoan with a Ph.D. in linguistics in the entire world.”

Muāgututiʻa was invited to join the Oceanic Cultural Trust, a collective established for the original “Moana” nine years ago to ensure that the film was not only authentic but also respectful of the cultures and histories of Polynesia. Besides Muāgututiʻa as the linguist, the other 12 members of the trust include an archaeologist, a botanist, a choreographer, a historian and additional cultural experts.

The Oceanic Cultural Trust is headed by Kalikolehua Hurley, who was born and raised on Oʻahu. Hurley, who affectionately calls Muāgututiʻa “Dr. Grant,” came to CSUSM last fall as part of a panel discussion about the work of the trust, following a screening of “Moana 2.”

“We aim for the stories we create at Disney Animation to reflect the peoples, cultures and places we’re inspired by in their creation,” Hurley said. “ ‘Moana,’ which finds inspiration in Pacific peoples, cultures and islands, would not feel truthful without the inclusion of all the things that make the Pacific what it is, including, of course, language.”

Muāgututiʻa was excited by the opportunity to contribute his expertise to “Moana 2,” which debuted on Disney+ on March 12. He recalls being a doctoral student in Hawaii when the original was released and taking his wife and (at the time) two young children to see it in the theater.

“I was very moved and inspired by it,” Muāgututiʻa said. “It was amazing to see representations of our culture on the big screen like that.”

Over the course of many months starting in 2023, Muāgututiʻa and the other members of the trust participated in a series of screening cycles – essentially viewing the film in various stages of completion – and afterward met with the filmmakers to discuss their thoughts as a group.

In addition to providing general cultural feedback, as the resident linguist, Muāgututiʻa was relied upon to suggest language for the film – from character and location names to more granular things like dialogue, dialect, pronunciation and spelling – both for the movie itself and for marketing materials leading up to the release. And he couldn’t just fall back on his deep knowledge of the Samoan language; rather, he had to tap into words and phrases common to all of the Pacific Islands, an umbrella term that also covers lands such as Hawaii, New Zealand, Tahiti and Tonga.

Muāgututiʻa’s most valuable contribution was the name of the villain, Nalo, which means “lost” in a variety of different Polynesian languages. Nalo is the god of storms who is jealous of the bonds that humans form between each other and uses his power to curse the island of Motufetū and cut off the voyaging between islands.

Muāgututiʻa also gave the movie the character of a fruit bat named Peka, the sidekick of a secondary antagonist, Matangi, who’s an eccentric demigoddess and Nalo’s enforcer. Fruit bats are plentiful in Samoa, and the word “peka” can be traced back to the original Polynesian language thousands of years ago.

“I helped shape the names in the movie,” Muāgututiʻa said, “although they all might not have come directly from my brain.”

One of the words that didn’t come from Muāgututiʻa’s brain but that pleased him greatly is “tautai,” which means “wayfinder” (or “navigator” or “seafarer”) and is the title that Moana receives during a special ceremony. “Tautai” also happens to be the name of Muāgututiʻa’s second son (he has four children total, the most recent a son born in January).

“Watching the film, when he hears his name, his face just lights up,” Muāgututiʻa said. “For my kids, Moana has always been there, so they’ve always seen themselves on the big screen. That’s huge for me, both as a father and a scholar.”

Muāgututiʻa, in fact, felt torn between studying linguistics and ethnomusicology in college. He chose linguistics, of course, and attended the University of Hawaii at Mānoa (the first university in the nation to offer Samoan language courses) for his bachelor’s degree and doctorate, with a stop in between for his master’s at the University of Auckland in Aotearoa New Zealand. Auckland, not coincidentally, is the largest Polynesian city in the world.

“I was able to piece together this curriculum that I was super interested in,” he said, “learning and filling gaps of the facets of history that weren’t available to me in Southern California.”

During and between the time that he pursued his two advanced degrees, Muāgututiʻa worked in Polynesian outreach for the Oceanside Unified School District and as the director of performing arts for the Le Fetūao Samoan Language Center in Hawaii (for the latter, he received an award in the shape of a fish hook, a traditional Polynesian symbol, that’s displayed in his office at CSUSM.)

Muāgututiʻa is a linguist professionally, but his love of music still burns brightly. For the last three years, he has been in a band called FAIVA (Samoan for “craft”) with two other Samoan musicians. FAIVA has played at CSUSM a few times, and one of their most cherished gigs is performing songs from “Moana” and other Polynesian favorites at Disneyland for hundreds of wide-eyed children and their families.

A big part of Muāgututiʻa’s work as a scholar is the melding of language and performing arts, and using the latter as a vehicle for the maintenance and even revitalization of Polynesian languages, many of which face endangerment. At CSUSM, he’s part of a group of faculty and staff behind the Asian, Pacific Islander and Desi American (APIDA) Success Initiative; one of the thrusts of that collective is utilizing grant money to support language curriculum development for Pacific Island studies.

Last year, CSUSM launched its first Samoan language and performing arts program, a five-week course in partnership with MiraCosta College that brought 30 kids from K-8 and 30 adults to campus. The program culminated in a performance at the Oceanside Samoan Cultural Celebration last July.

“There’s such a strong interest and a thirst to learn our culture, learn our language,” Muāgututiʻa said. “Not only has that enabled outreach to the community, but it also has helped me with the opportunity to develop and test curricular materials. None of this would have been possible without the support of CSUSM and the awesome team of faculty and staff that we have here.”

The runaway success of movie franchises like “Moana” – the two films have grossed a total of almost $2 billion worldwide – can only aid in the linguistic and cultural preservation that is the foundation of Muāgututiʻa’s career. And he’s not done with “Moana,” either. He also is a member of the cultural trust for the live-action version of “Moana” that’s set to premiere in summer 2026. He frequently was on location for that film, the production of which wrapped last fall.

“In a lot of ways, I was just in the right place at the right time,” Muāgututiʻa said of his work on both versions of “Moana.” “It’s a lot of pressure, but also a huge privilege that comes with the responsibility to be able to speak for me personally, for my family, for my people on a platform that millions and millions of people will see for a long time. We haven’t always been welcome in these spaces, and to have that opportunity now, I don’t take it lightly.”