Exploring the Pacific through storytelling: an interview with Caitlin Tuagalu
We sat down with Bachelor of Design Innovation student Caitlin Tuagalu to discuss her pakiwaitara (narrative/story) Life in the Pacific, created during the Whakapapa Design II course.
Through her story, she invites us into a world where hope and resilience have transformed the remnants of a fallen society into a harmonious, sustainable community on the ocean. Her work reflects a thoughtful approach to Mātauranga Māori design and storytelling, connecting readers to both cultural tradition and future possibilities using her own background and experiences.
Q: What inspired you to write Life in the Pacific?
Caitlin: The course brief was to write a futuristic pakiwaitara that illuminates present ocean-related social or cultural issues that no longer exist in the future, and to imagine how to inspire people to get involved with present-day issues to live in a future that is more 'just' and more equitable place where all living beings are thriving.
I grew up near Tauranga, so it felt natural to set the story in a world where the characters live close to the ocean. I also wanted the story to convey a collective worldview, inherent in Pacific cultures—where community and looking after one another come first. Using wayfinding elements like a Hawaiian star compass was key in bringing an authentic Pasifika perspective, as were the Polynesian names for the characters, which all have ocean-related meanings.
Q: How did you balance creativity and realism when crafting your floating island society?
Caitlin: Once I had a rough draft of the story, I researched ways to make the setting as believable as possible. I explored whether living sustainably on a floating island would be feasible—like how they could distil water, use hydroponics, and recycle ocean trash. I’m a logical thinker, so I wanted these aspects to be plausible, but I also knew the story had to stay true to Indigenous storytelling traditions, where the meaning and purpose are more important than factual accuracy.
Q: Your story combines elements of dystopia with an optimistic outlook. Can you share more about this choice?
Caitlin: It’s definitely a mix. There’s a dystopian backdrop—the Old World’s environmental collapse—but the present-day life on the island is much more utopian. I wanted to capture the contrast of a community that has learned from past mistakes, becoming more balanced and sustainable. At the end of the story, [spoiler alert] they find new hope on another island and a renewed mission to restore the oceans. It’s meant to reflect both resilience and the optimism that’s deeply embedded in the community's values.
Q: What role did Mātauranga Māori and the design course play in shaping your approach to this story?
Caitlin: The course was a huge learning experience for me. Initially, I was nervous about working through an Indigenous Māori lens, as I am a mix of Pākehā and Samoan. But the course taught me that Indigenous design and storytelling are as much about mindset as they are about specific knowledge. It’s about being respectful, valuing community, and recognising the interconnectedness of people and the environment.
Knowing that I can’t actually practice Indigenous design, I think the most important thing was to use my own voice and background in conjunction with the appropriate Mātauranga Māori framework for storytelling. This helped me feel more comfortable and confident in approaching the assignment. Mātauranga Māori principles and values are hugely beneficial when we look at what we need to do to protect the ocean and environment. In the story, this idea is a recurring theme that shows the consequence of ignoring this knowledge and the benefits of living by it.
Q: Did you incorporate any specific design or storytelling methods in your project?
Caitlin: Yes, I experimented with a storytelling structure based on “five beats” rather than the Western method of three, which was new for me. This structure allowed me to set up the story’s theme early on and then develop the journey and transformation of the characters more deeply.
Q: Were there any challenges you faced while developing this story?
Caitlin: As mentioned before, one challenge was striking a balance between realistic logistics and a more traditional storytelling style. For example, I wanted their floating island to seem functional but knew it didn’t need to be perfect for the story’s message to resonate. I also spent a lot of time researching things like seaweed’s role in sustainable practices. Seaweed became a key element in the story because of its resilience and utility—it’s a powerful plant that’s used for everything from food preservation to medicinal applications, which I thought would be valuable in the story’s society.
Read Life in the Pacific here.
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