Carl Ross: 'Te Matatini isn’t just about performance; it’s an economic driver.' Photo / Whakaata Māori
Carl Ross: 'Te Matatini isn’t just about performance; it’s an economic driver.' Photo / Whakaata Māori
Carl Ross emphasises Te Matatini as an economic force and diplomatic tool, beyond just performance art.
The festival’s budget increased from $1.9 million to $19.1m, highlighting its economic impact.
Broadcasting has expanded its reach, making kapa haka a key player in trade and cultural diplomacy.
Carl Ross fixes a disarming stare when discussing Te Matatini’s future. There is no hesitation, no doubt – just an unshakable belief that kapa haka is more than performance art. He sees it as an economic force, a diplomatic tool, and New Zealand’s most potent cultural export.
Since taking the helm in 2016, Te Matatini CEO Ross has worked to secure sustainable funding for the festival, shifting it from an under-resourced event to a government-backed institution. He recalls a time when communities had to dismantle farm sheds to build a stage. But Te Matatini’s budget has grown from $1.9m to a baseline of $19.1m, reflecting its broader economic and social impact.
“Te Matatini isn’t just about performance; it’s an economic driver,” Ross says.
Carl Ross and Finance Minister Nicola Willis at Te Matatini Kahui Maunga in New Plymouth this week. Photo / Te Mataini Enterprises.
“The latest projections show an economic impact of $26.5 million. We’ve gone from scraping together funding to securing baseline support of $19.1m – recognising kapa haka’s value to Aotearoa.”
Ross is thrilled by the festival’s soaring reach. Te Matatini’s broadcast across mainstream channels and digital platforms is attracting millions of viewers and shattering audience records. More than ever, Ross says, people are seeing kapa haka not only as a cultural art form but as a key player in the economy.
He says it’s this recognition that has led to Te Matatini being invited to join trade delegations. Ross sees kapa haka as a crucial part of New Zealand’s trade identity, helping build relationships with overseas markets before business begins.
“We sit down at trade negotiations and do the cultural thing first,” he explains. “We actively interchange customs, our beliefs, our tikanga – and once that’s done, trade discussions are easy.”
This approach has been particularly effective in Asia, where cultural respect and relationship-building are essential in business. Ross describes situations where haka performances have broken down formal barriers, leading to more open discussions.
“We give them a poi, they love it. Next minute, they bring out a dragon and invite us in. It’s a shared experience – and then we sit down and talk trade,” he says.
For Ross, this isn’t about using kapa haka as a gimmick; it’s about leveraging te ao Māori as New Zealand’s unique selling point.
“We’re not there just to stand up and sing waiata. We’re there to promote our culture as a national strength – and to support Māori businesses in the process.”
Auckland kapa haka group Te Waka Huia perform at Te Matatini on Wednesday. Matatini CEO Carl Ross is a former member of the group. Photo / Te Matatini Enterprises
Intellectual property is a key focus. Ross is determined to protect Māori imagery and branding, citing past legal battles in which overseas companies misused haka and Māori iconography for commercial gain.
“Te Matatini will enforce the indigenous rights of our people and protect our kaihaka [haka performers] on an international scale,” he says. “If our brand is used, our performers should benefit. That money should flow back into the communities, growing kapa haka from the ground up.”
As Te Matatini’s influence continues to expand, Ross is clear about its future: it is not just a festival but a strategic asset for Aotearoa, driving cultural diplomacy and economic growth.
