#online: Global Platforms Surge, But Māori Audiences Still Want Stories That Feel Like Home
The battle for New Zealand audiences is increasingly being fought on global digital platforms, but new NZ On Air research is putting the spotlight on what Māori, Pacific, Asian and younger audiences actually want to watch, hear and engage with. Allanah Kalafatelis, NZ On Air’s Head of Communications and Research, joins Waatea as the agency…
The battle for New Zealand audiences is increasingly being fought on global digital platforms, but new NZ On Air research is putting the spotlight on what Māori, Pacific, Asian and younger audiences actually want to watch, hear and engage with.
Allanah Kalafatelis, NZ On Air’s Head of Communications and Research, joins Waatea as the agency releases new audience findings following its latest Where Are The Audiences? research.
NZ On Air says it is now moving to annual reporting on audience behaviour, alongside dedicated monitoring of four key groups — Māori, Pacific peoples, Asian peoples and youth.
For Māori media, one of the biggest challenges is not necessarily whether audiences value local content, but whether they can find it in an increasingly crowded global media environment.
Previous dedicated NZ On Air and Te Māngai Pāho research found Māori audiences were attracted to local content because of its relatability, humour, authentic characters, familiar people and places, Māori culture, history and New Zealand music.
But Māori audiences were also spending more time on international platforms, reducing their chances of discovering those local stories. Social media and recommendations from friends and whānau were important ways Māori discovered new content.
Rangatahi Māori are particularly important in that shift, with younger audiences heavily engaged with social media, gaming and global digital platforms.
That presents a major challenge for Māori broadcasters and content creators.
Producing a strong Māori story is only part of the equation. Increasingly, that kaupapa also needs to appear on the platforms where rangatahi are already spending their time and compete against an almost unlimited supply of international entertainment.
Te reo Māori remains another crucial part of the picture.
Earlier Māori audience research found viewers valued seeing and hearing te reo, while preferences differed depending on fluency. Many Māori, including fluent speakers, indicated they also valued content where te reo was naturally incorporated into accessible conversations rather than necessarily requiring programmes to be entirely in te reo.
The findings have significant implications for organisations including Radio Waatea, Whakaata Māori and Māori content producers trying to serve audiences across different generations and levels of reo proficiency.
They also raise questions about how public media funding should respond.
NZ On Air says understanding changing audience behaviour directly informs its investment decisions, including how it supports the creation and discoverability of New Zealand content. Its current strategy specifically identifies research into Māori and youth audiences as important to ensuring locally made content remains relevant and can actually be found.
The pressure from international platforms is particularly obvious among tamariki. Separate research released last year found 69 percent of New Zealand children used YouTube or YouTube Kids daily, while only half were engaging with local content at all.
NZ On Air has responded by supporting initiatives such as KIDOGO, which puts locally produced children’s stories and waiata directly onto YouTube rather than expecting tamariki to move away from the platform they already use.
That may offer a wider lesson for Māori media.
The future may not be about choosing between traditional Māori broadcasting and global platforms, but ensuring Māori stories, reo and perspectives can travel successfully across both.
For Kalafatelis and NZ On Air, the research provides evidence for future funding decisions.
For Māori media, it poses a bigger kaupapa — in a world dominated by global algorithms and international entertainment giants, how do we make sure Māori audiences can still see themselves, hear their reo and discover stories that come from home?
