Generation Z and Ecuadorian TikTokers: uses and gratications among
university students studying Communication
Generación Z y tiktokers ecuatorianos: usos y graticaciones en estudiantes
universitarios de Comunicación
doxa.comunicación |
nº 43, pp. 441-461
| 441
July-December of 2026
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Lalangui Campoverde, E. C. y Flores Zúñiga, B. R. (2026). Generation Z and Ecuadorian TikTokers: uses and gratications among university
students studying Communication.
Doxa Comunicación
, 43, pp. 441-461.
https://doi.org/10.31921/doxacom.3473
Edison Cristóbal Lalangui Campoverde.
He holds a Bachelor’s degree in Social Communication from the Central
University of Ecuador (UCE) and a Master’s degree in Communication Policy from the Institute of Higher National
Studies (IAEN). He works as a lecturer and researcher at the Technical University of Cotopaxi (UTC). His research
focuses on the critical analysis of communication processes in Ecuador and Latin America, with an emphasis on digital
communication, journalism, interculturality and media studies. He has published articles in high-impact journals on
topics such as the attention economy on digital platforms, the media representation of social crises in the press, and
narratives of migration among university students and LGBTIQ+ communities.
Technical University of Cotopaxi, Ecuador
[email protected]
ORCID
: 0000-0002-3095-1371
Belén Raquel Flores Zúñiga.
She holds a degree in Communication from the Technical University of Cotopaxi (UTC).
Her areas of expertise and research focus on radio broadcasting, digital journalism and audiovisual production, with
a particular emphasis on the creation of cultural and educational content. She has participated in various community
communication and cultural dissemination projects, where she combines professional practice with critical reection
on the media and their audiences. She currently works as an independent producer and manager of cultural content,
promoting the development of creative initiatives that strengthen local identity and citizen participation through
communication.
Technical University of Cotopaxi, Ecuador
belen.
[email protected]
ORCID
:
0009-0003-4811-3418
is content is published under Creative Commons Attribution Non-Commercial License. International License CC BY-NC 4.0
Recibido: 11/11/2025 - Aceptado: 05/03/2026 - En edición: 03/06/2026 - Publicado: 01/07/2026
Resumen:
En la actualidad, las redes sociales han recongurado los procesos de
creación y circulación de la información, que han transformado las di
-
námicas de consumo. El objetivo de este estudio es determinar desde la
Teoría de los Usos y Graticaciones, la inuencia de los contenidos de
tiktokers ecuatorianos en las motivaciones de la Generación Z de la Ca
-
rrera de Comunicación de la Universidad Técnica de Cotopaxi, e incorpo
-
Received: 11/11/2025 - Accepted: 05/03/2026 - Early access: 03/06/2026 - Published: 01/07/2026
Abstract:
Social media has now reshaped the processes of information creation
and circulation, thereby transforming consumption patterns. e aim
of this study is to determine, using Uses and Gratications eory,
the inuence of content produced by Ecuadorian TikTokers on the
motivations of Generation Z students on the Communication degree
programme at the Technical University of Cotopaxi, and to incorporate
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Generation Z and Ecuadorian TikTokers: uses and gratications among university students studying Communication
ISSN: 1696-019X / e-ISSN: 2386-3978
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rar el ciclo académico como variable de segmentación transversal, para
analizar las variaciones en la percepción inherente al proceso formativo.
Como parte del diseño cuantitativo, se aplicó una encuesta a 201 partici
-
pantes. Se empleó la técnica de reconocimiento asistido para minimizar
sesgos de falso reconocimiento. La abilidad del instrumento se vericó
mediante el coeciente alfa de Cronbach
α
= 0.724, lo que evidenció una
consistencia interna aceptable. El procesamiento de los datos incluyó un
análisis estraticado según el ciclo académico. Los resultados muestran
que los contenidos con mayor preferencia se orientan al humor y al en
-
tretenimiento, y funcionan como mecanismos de liberación de tensiones
y graticación emocional. El entretenimiento digital no puede entenderse
como una práctica neutral, pues actúa como un dispositivo que modela
percepciones, refuerza marcos interpretativos y redene las dinámicas de
interacción en el entorno universitario.
Palabras clave:
Estudiantes universitarios; identidad virtual; Generación Z; usos y
graticaciones; tiktokers ecuatorianos.
the academic year as a cross-sectional segmentation variable, in order
to analyse variations in perception inherent to the educational process.
As part of the quantitative design, a survey was administered to 201
participants. e assisted recognition technique was employed to
minimise false recognition bias. e reliability of the instrument was
veried using Cronbach’s alpha coecient (
α
= 0.724), which indicated
acceptable internal consistency. Data processing included a stratied
analysis according to academic year. e results show that the most
preferred content is oriented towards humour and entertainment, and
functions as a mechanism for stress relief and emotional gratication.
Digital entertainment cannot be understood as a neutral practice, as
it acts as a device that shapes perceptions, reinforces interpretative
frameworks and redenes the dynamics of interaction within the
university environment.
Keywords:
University students; virtual identity; Generation Z; uses and
gratications; Ecuadorian TikTokers.
1. Intrduction
In recent decades, the development of digital technology has become abundantly clear, leading to social change due to the
ubiquity of various platforms and the mass connectivity of users around the world (Gutiérrez-Arenas
et al.
, 2024). When
connecting en masse, internet users acquire, create and disseminate information as prosumers (Colás-Bravo
et al.
, 2013;
Fajardo-Pascagaza
et al.
, 2024).
In this context, TikTok has emerged as an innovative platform in the social communication landscape, being used primarily
for the entertainment of young audiences and for forging connections with other members of the digital community (Ramírez-
Pérez
et al.
, 2021; Soto, 2022; Klimenko and Herrera-Varela, 2022; Trejos-Gil
et al.
, 2024; Méndez-Mjuelos
et al.
, 2023). Since
its creation in 2016, it has rapidly achieved global reach, particularly during the lockdown caused by the COVID-19 pandemic
(García-Muñoz and Rangel-Romero, 2024; Quiroz, 2020). is led people to visit this app more regularly, in order to counteract
the reality they were experiencing (Suárez-Álvarez and García-Jiménez, 2021). One of the demographic groups associated with
this practice was Generation Z, comprising people born between 1995 and 2010. is group shares a common chronological,
social and historical context that highlights shared patterns of behaviour and consumption in digital environments (Twenge
et
al.
, 2010). Among its distinctive characteristics is the transition into working life through the start of a university degree or early
entry into the labour market. However, this generation was one of the hardest hit during the health crisis, due to the forced
shift to online learning and job losses, resulting in greater vulnerability in terms of academic education and socio-economic
stability (Pham
et al.
, 2024).
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Regarding the level of engagement Generation Z has with social media, studies show that between 2022 and 2024, the number
of active TikTok users exceeded 1.3 billion, establishing it as one of the leading platforms for video viewing (Hook Agency,
2025). In 2025, 94% of young people used at least one social media platform on a daily basis, whilst 70% checked their social
media more than ve times a day; this conrms that the features of these platforms act as channels for visibility and digital
interaction (Lee, 2025). As for the intensive use of TikTok, Generation Z spends an average of 89 minutes a day on the app,
opting for short videos; furthermore, content with sound and repeat functions records 42% higher engagement compared to
traditional videos (Hook Agency, 2025).
Despite TikTok’s growing global popularity, in Ecuador the platform has approximately 12,000,000 users, representing 69.2%
of the total population (Pesántez-Valarezo
et al.
, 2024). However, there are no up-to-date data on its specic use by Generation
Z. e available information relates to general studies, such as those analysing TikTok’s inuence on young people’s voting
intentions or their rejection of advertising managed via the platform’s interface (Pesántez-Valarezo
et al.
, 2024). is lack of
statistical data limits our understanding of the consumption patterns, motivations and communication practices of university-
aged Generation Z, highlighting the need for more detailed studies to characterise their interaction with TikTok content.
Ecuadorian university students are predominantly members of Generation Z and are highly experienced in technological
environments and in using mobile devices, social media and digital platforms (Montero-Corrales, 2025). However, although
there is a high level of familiarity with information and communication technologies, their digital skills do not always reach
advanced levels of critical, creative and academic application, as evidenced by studies in higher education in Latin America.
us, within this framework, Ecuadorian Generation Z university students have managed to combine the intensive use of
social media and platforms such as TikTok to develop new skills that enable them to harness these technologies for learning
and entertainment during the ongoing technological transformation in higher education (Pegalajar-Palomino and Rodríguez-
Torres, 2023).
In the process of interaction that takes place from Ecuador or any other country, a virtual community is formed around shared
interests and preferences, with the aim of capturing the audience’s attention and empathy; as a result, so-called inuencers
or TikTokers emerge (Gutiérrez-Rentería, 2017; Bucknell-Bossen and Kottasz, 2020; Abidin, 2020; López-Jiménez
et al.
, 2022;
Mulier
et al.
, 2022; Jiménez-Sánchez
et al.
, 2025; Virós-Martín
et al.
, 2025). e dening characteristic of these gures is their
ability to inuence the conduct, behaviour or opinions of their followers, thereby adopting a new form of leadership within
the technological sphere (Balseca-Mera and Galarza-Schoenfeld, 2024; Maldonado-Pérez, 2024; Martínez-Borda
et al.
, 2024).
us, the concept of content creators emerges, referring to people who publish videos on any subject (Booth and Matic, 2011;
Ariza
et al.
2022). Inuencers with the greatest digital reach receive nancial benets, in line with the number of reactions
and views their content receives. Similarly, their content inuences the decisions of those who identify with them or aspire
to their lifestyle, leading to a dependency rooted in digital interconnection (Hautea
et al.
, 2021; Jiménez-Sánchez
et al.
, 2025;
Martínez-Sanz and Solano-Santos, 2025)
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1.1. eoretical Framework
is study revisits and updates the epistemological premises of the Uses and Gratications eory through categories that
demonstrate a correlation with the young academic population, given that they regularly access social media to meet their
emotional, relational and social needs in order to nd satisfaction and interactivity (Tarullo, 2020). e theory put forward by
Blumler and Katz in 1973 and 1974 became an alternative to the traditional paradigm, which viewed the audience as a passive
entity in the communication process. It was conrmed that recipients are active and have the capacity to accept or reject
media content to satisfy or gratify a particular emotional need (Park
et al.
, 2009; Gil-Fernández and CalderónGarrido, 2021;
Rovira-Collado
et al.
, 2024).
Today, the rise of social media reinforces the premise that Uses and Gratications eory is based on the view that members of
an audience are active participants who interpret audiovisual content to meet their psychological and social needs, in relation
to personal expectations, motivations and internal norms that facilitate deliberate interaction with digital media (González-
Vázquez and Igartua, 2018; Segado-Boj
et al.
, 2020). Consequently, to explore how the content of a media outlet inuences
audience perceptions, we revisit the structural and deductive framework proposed by authors such as Blumler and Katz (1974),
Rivas-Herrera and Igartua (2021) and Mateus
et al.
(2023):
1. Cognitive: acquisition of information, knowledge and understanding
2. Aesthetic and aective: emotion, pleasure and feelings
3. Personal integration: credibility, stability and status
4. Social integration: interaction with family and friends
5. Stress relief: escape and entertainment
ese elements enable us to broaden our reection towards a digital environment based on the consumption of audiovisual
products, where expectations rise in line with what users express. A supercial identity is rearmed before a community that
justies the use of social media (Espinel-Rubio
et al.
, 2021).
1.2. Objectives
e main objective of this study is to determine, using the Uses and Gratications eory, the inuence of content produced by
Ecuadorian TikTokers on the motivations of Generation Z students on the Communication degree programme at the Technical
University of Cotopaxi. e academic year is incorporated as a cross-sectional segmentation variable to analyse variations in
perception inherent to the educational process. Taking a cross-sectional approach, the following specic objectives are proposed:
SO1. To identify the most popular Ecuadorian TikTokers among Communication students, considering the relationship
between the academic year and the level of recognition of content creators.
SO2. To classify the content consumed by Communication students, distinguishing thematic preferences according to
academic year and the content shared by the most popular Ecuadorian TikTokers.
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SO3. To describe the predominant motivations in the content consumed by Communication students in accordance with the
categories of the Uses and Gratications eory, based on the most popular Ecuadorian TikTokers and the academic year.
In Ecuador, Latin America, and Spain, studies on TikTok (Suárez-Álvarez and García-Jiménez, 2021; Sánchez-Amboage
et
al.
, 2022; Burgaleta-Pérez
et al.
, 2024; Burgaleta-Pérez and Lalangui-Campoverde, 2025) have focused on analyzing content
creators and their productions, examining narratives, aesthetics, thematic themes, as well as variables related to age, gender,
nationality, or ethnicity. On the other hand, when the focus is on college students, research has analyzed the impact of this
platform on learning, academic participation, engagement, and social and political behaviors (Rendón
et al.
, 2022; Yélamos-
Guerra, 2022; Flores-Loaiza
et al.
, 2024; Torres-Toapanta
et al.
, 2024; Díaz-Vera
et al.
, 2025). For this reason, the present study
makes a distinctive contribution by incorporating the academic cycle as a cross-cutting and segmentation variable, constituting
a methodological innovation by highlighting the reconguration of digital practices in motivations and consumption patterns
throughout the university trajectory. In this way, it provides evidence situated within the Ecuadorian context, opening up a
comparative, broad, and replicable line of inquiry in other higher education systems
e hypothesis is that the academic level is signicantly related to the type of content preferred on TikTok and to the perceived
gratications. In this regard, it is expected that there will be dierences in consumption patterns between students in early and
advanced academic levels, both in terms of content types and associated gratications.
2. Methodology
e use of a survey as part of the quantitative design made it possible to identify trends and numerical patterns to build
knowledge in the eld of digital platforms (Cadena-Iñiguez
et al.
, 2017).Purposive non-probabilistic sampling was applied
by dening the Communication Program at the Technical University of Cotopaxi as the unit of analysis, given its direct
relationship with social media use due to content creation in the participants’ academic training and professional development
(Noguera-Vivo and Grandío-Pérez, 2025; Tejedor
et al.
, 2018). Furthermore, as a public institution, it oers a conducive setting,
with students from diverse socioeconomic backgrounds and regions, which enables the collection of more representative
and diverse data (3 and Brunner, 2022). During the April-August 2025 academic term, the study population consisted of 201
students: rst cycle (33), second cycle (34), third cycle (19), fourth cycle (29), fth cycle (22), sixth cycle (24), seventh cycle (8),
and eighth cycle (32). Regarding potential sources of bias, non-response was not recorded, as the entire selected population
responded. With regard to self-selection, the academic context was considered due to its inuence on willingness to respond.
Likewise, social desirability was taken into account, understood as the tendency to provide responses that align with academic
expectations.
To identify the most popular TikTokers in Ecuador, the study by Burgaleta-Pérez
et al.
(2024) was used as an initial reference.
e authors examined more than 1,800 videos from 19 TikTokers, identifying patterns in the messages and correlations between
variables such as gender, age, and ethnicity. ese ndings were then compared and updated using data from the websites
HypeAuditor and StarNgage
(Lee,2025), platforms designed to identify inuencers worldwide. e rst platform contains a
database of over 11,000,000 users. Its lters facilitate the search for audiences and content creators by covering aspects such as
country, city, and language (Bautista-Jara and Chávez-Yépez, 2020). e second platform analyzes inuencers’ most recent 30
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posts to calculate engagement levels and provide up-to-date data, thereby leading the virtual market with this implementation
model (Oneto-González
et al.
, 2020; Puente-Riofrio and Uquillas-Granizo, 2022).
e nal sample was obtained using a dataset containing directly observable and measurable variables from the TikTok
interface -such as username, age, gender, and number of followers-for accounts with over one million followers. is inclusion
criterion is consistent with research published in high-impact journals, such as that by Suárez-Álvarez and García-Jiménez
(2021), Sánchez-Amboage
et al.
(2022), Burgaleta-Pérez
et al.
(2024), and Burgaleta-Pérez and Lalangui-Campo (2025).
Regarding the exclusion criterion, the possibility of considering only the most popular TikToker was ruled out, as this would
generate representativeness biases and restrict the generalizability of the results (Tufekci, 2014). erefore, capturing a greater
diversity of preferences and content styles improves the accuracy of the ndings (Chen
et al.
, 2024).
In addition, rather than asking participants to spontaneously name a content creator they remembered or found familiar, aided
recall was implemented as a digital audience measurement technique. As a result, a closed reference framework consisting of
32 proles was obtained. is strategy was adopted to reduce false recognition and avoid confusion in the selection of a native
TikToker or inuencer from other platforms, and to improve reliability, ensuring that all participants evaluate the same set of
observations (Alvarez-Martinez
et al.
, 2024; Hall, 1982).
Table 1. Ecuadorian TikTokers with over one million followers
N=UserAgeGenderFollowers
[email protected]
31.0 M
2@soysuco26Male
24.3 M
3@melissaendara24Female
13.1 M
4@anthonnyswagg333Male
11.1 M
5@otracuentadetutoriales22Female
6.4 M
6@donday33Male
6.4 M
7@jhonycevallos34Male
6.3 M
8@jordanalvarezz24Male
5.9 M
[email protected]
10@alexcifuentest22Male
5.1 M
11@jorgito_guayaco32Male
4.9 M
12@jeersonrescataec32Male
4.0 M
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13@eliroldan22Female
3.8 M
14@leitogranda30Female
3.8 M
15@samiaalava
22
Female
3.1 M
16@la_campita21Female
2.9 M
17@ginaalopeez25Female
2.8 M
18@andrewarevalow24Male
2.3 M
19@ñustapicuasi19Female
2.3 M
20@angelinams0100217Female
2.1 M
21@annyborja227Female
2 M
22@shailyngarzon25Female
2 M
23@chrisxtrejo25Male
1.9 M
24@jeyderrescataocial34Male1.9M
[email protected]
26@emmaguerreromosquera29Female
1.6 M
27@jhonvalverde26Male
1.6 M
28@michaelsteve27Male
1.5 M
29@melizayumisaca26Female
1.3 M
[email protected]
1.2 M
31@nancyrisol21Female
1.2 M
32@jhontahancruzjc725Male
1.1 M
Source: Compiled by the authors based on data from HypeAuditor and StarNgage
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2.1. Instrument and statistical validation
Based on the established data, the instrument underwent a validation process through pilot tests conducted by the research
team, in which students from various academic programs participated to evaluate its functionality and applicability. As a
result, the items related to the recognition level of Ecuadorian TikTokers were adjusted, since participants were unable to
identify them by their usernames. In the new instrument, photographs of the 32 TikTokers were included to facilitate socio-
virtual detection (Montoya-Zavala
et al.
, 2020). Likewise, it was determined that the questions should follow a multiple-
choice design to reduce forced response bias, broaden the diversity of answers, and provide a more detailed understanding
of the information (Bartelborth, 2020; Calderón-Garrido & Gil-Fernández, 2022). To determine the statistical reliability of the
instrument, Cronbach’s alpha coecient was calculated for the eight questions previously selected and adjusted in the pilot
test. is measure of consistency is based on the relationship between the variance of each item and the total variance of the
questionnaire. When items are highly correlated with one another, they do not vary independently but tend to change together,
resulting in a higher alpha value. e R software (version 4.5.1) was used, as it is widely recognized in the methodological
literature for its reliability. After coding the responses on numerical ordinal scales, the value obtained was 0.724, indicating an
acceptable level of internal consistency (Tavakol and Dennick, 2011).
2.2. Ethical considerations
Participation by respondents was voluntary, following a verbal explanation of the study’s objectives. Furthermore, it was
emphasized that the information collected would be used solely for academic purposes, in order to ensure the anonymity
and condentiality of the data and to avoid infringing on students’ privacy (Campos
et al.
, 2025). Secure storage mechanisms
were implemented for the content, and participants were asked to use their own mobile devices to access the Google Forms
platform. Care was taken to ensure they understood the context of the research, its approximate duration, and the nature of
the questions (Lalangui-Campoverde
et al.
, 2025). is procedure ensured that the data collection was more closely aligned
with the ethical principles contained in the Declaration of Helsinki, the university’s institutional and logistical provisions, and
international guidelines for research involving human subjects (Mainardes, 2019).
2.3. Stratied Analysis
To ensure the accuracy and validity of the ndings, a stratied analysis was conducted to overcome the limitations of general
approaches, which tend to homogenize data and obscure variations among identied internal subgroups. is technique made
it possible to control for distortions and ensure the specicity of perceptions and patterns dierentiated among participants
in each academic cycle (Ochoa-Sangrador
et al.
, 2022). To organize and code the information, a Microsoft Excel workbook
was used to construct cross-tabulation matrices that facilitated the specic segmentation of the elements studied and the
visualization of patterns by university stratum. Each row represented a participant with their various responses, while the
columns corresponded to the academic cycle variable. e selection of this variable was based on criteria of accessibility,
relevance, and direct alignment with the research objectives. Its connection to the participants’ educational process or
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development allowed for the observation of variations in the gratications perceived by students regarding the presented
content (Suarez-Gonzalez
et al.
, 2024).
In this way, the stratied analysis increased the diversity across academic cycles and the internal validity of the results. It thus
constituted a distinctive methodological contribution, revealing nuances and dierences that a global analysis would not have
been able to detect.
3. Results
As part of the administration of the instrument, it was found that the students’ ages range from 18 to 28 years. Regarding
gender distribution, 53.20% are women and 46.80% are men. e highest concentration of students is in the rst through
fourth academic cycles, accounting for 71%, while the fth through eighth cycles account for the remaining 29%, revealing
lower participation at higher levels.
R1 based on OE1. To identify the most popular Ecuadorian TikTokers among Communication students, the relationship
between the academic cycle and the level of recognition of content creators is considered.
Figure 1. Popular Ecuadorian TikTokers in the university community
Source: Compiled by the author
As shown in Figure 1, which displays the distribution of responses regarding recognition of the
most popular Ecuadorian TikTokers over eight academic cycles, stable patterns and significant
variations in user preferences are evident.
The first academic year highlights @anthonnyswagg3 (comedy, dancing), @melissaendara
(beauty, blogging, parodies), and @donday (lip
-
syncing, dance). The preference for these creators
stems from a desire for entertainment and emotional connection. They serve as a source of
recreation and escapism, especially for students just starting college, who find in TikTok a space
for communication, socialization, and relaxation.
In the second cycle, the distribution remains centered on @anthonnyswagg3, but diversifies with
the presence of @jhonycevallos (humor, motivation) and @jhonvalverde (comedy, music,
reflections). A trend emerges in which viewers prefer not only entertainment but also motivational
content focused on self
-
understanding and career guidance.
The trend in the third cycle points toward a decline in popularity. Mentions are spread across
TikTokers such as @anthonnyswagg3, @jhonvalverde, @michaelsteve (comedy), and
@jorgito_guayaco (humor). However, the most popular content continues to focus on everyday
humor.
In the fourth cycle, engagement increases, with an emphasis on creators such as
@anthonnyswagg3, @jorgito_guayaco, and @jhonycevallos, all of whom produce comedy
content. This resurgence signals a transition toward content that blends humor with representations
of popular culture.
0
5
10
15
20
25
30
12345678
ACADEMIC YEAR
@melissaendara
@anthonnyswagg3
@donday
@jhonycevallos
@jorgito_guayaco_o
@leitogranda
@ginaalopeez
@jhonvalverde
@michaelsteve
@jhontahancruzjc7
Source: Compiled by the author
As shown in Figure 1, which displays the distribution of responses regarding recognition of the most popular Ecuadorian
TikTokers over eight academic cycles, stable patterns and signicant variations in user preferences are evident.
e rst academic year highlights @anthonnyswagg3 (comedy, dancing), @melissaendara (beauty, blogging, parodies),
and @donday (lip-syncing, dance). e preference for these creators stems from a desire for entertainment and emotional
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ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
connection. ey serve as a source of recreation and escapism, especially for students just starting college, who nd in TikTok
a space for communication, socialization, and relaxation.
In the second cycle, the distribution remains centered on @anthonnyswagg3, but diversies with the presence of @
jhonycevallos (humor, motivation) and @jhonvalverde (comedy, music, reections). A trend emerges in which viewers prefer
not only entertainment but also motivational content focused on self-understanding and career guidance.
e trend in the third cycle points toward a decline in popularity. Mentions are spread across TikTokers such as @
anthonnyswagg3, @jhonvalverde, @michaelsteve (comedy), and @jorgito_guayaco (humor). However, the most popular
content continues to focus on everyday humor.
In the fourth cycle, engagement increases, with an emphasis on creators such as @anthonnyswagg3, @jorgito_guayaco, and
@jhonycevallos, all of whom produce comedy content. is resurgence signals a transition toward content that blends humor
with representations of popular culture.
In the fth cycle, the gures of @anthonnyswagg3, @melissaendara, and @leitogranda (family, humor, fashion) stand out. is
selection combines everyday experiences with the aspirational realm: fashion, lifestyle, and humor. It seeks role models for
emotional and generational identication that transcend the notion of popularity inherent to the Ecuadorian TikToker.
In the sixth cycle, @anthonnyswagg3, @melissaendara, and @jorgito_guayaco dominate. Humorous content remains the
favorite.
e seventh grade ranks @jorgito_guayaco_o as the most recognized, followed by @anthonyswagg3 and @jhonycevallos. is
is because it is the grade with the fewest students, resulting in a lower proportion of responses compared to the other grades.
ere remains a correlation with TikTokers in the comedy genre.
e eighth cycle ranks more than three TikTokers as the most popular. In rst place is @anthonyswagg3, followed by @
michaelsteve (comedy), and in third place, with an equal number of mentions, are @ginaalopeez (comedy, makeup), @
jhonycevallos, @melissaendara, @jorgito_guayaco, and @jhontahancruzjc7 (comedy), all with humorous, motivational, and
aesthetic content.
In short, there is a consistent concentration on a small group of Ecuadorian TikTokers, particularly @anthonnyswagg3, whose
presence spans all educational levels. Popularity is not distributed evenly because recognition in the digital environment does
not depend exclusively on the academic cycle, but rather on the ability of certain Ecuadorian TikTokers to maintain constant
visibility across dierent educational levels. is suggests that communication students tend to focus and legitimize their
attention on a small group of creators, reinforcing dynamics of symbolic centralization in which a few proles accumulate high
levels of recall and positioning.
R2 based on OE2. Classify the content consumed by communication students, distinguishing thematic preferences according
to the academic cycle and the content shared by the most popular Ecuadorian TikTokers.
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Figure 2. Classication of content according to the academic cycle
In the fifth cycle, the figures of @anthonnyswagg3, @melissaendara, and @leitogranda (family,
humor, fashion) stand out. This selection combines everyday experiences with the aspirational
realm: fashion, lifestyle, and humor. It seeks role models for emotional and generational
identification that transcend the notion of popularity inherent to the Ecuadorian TikToker.
In the sixth cycle, @anthonnyswagg3, @melissaendara, and @jorgito_guayaco dominate.
Humorous content remains the favorite.
The seventh grade ranks @jorgito_guayaco_o as the most recognized, followed by
@anthonyswagg3 and @jhonycevallos. This is because it is the grade with the fewest students,
resulting in a lower proportion of responses compared to the other grades. There remains a
correlation with TikTokers in the comedy genre.
The eighth cycle ranks more than three TikTokers as the most popular. In first place is
@anthonyswagg3, followed by @michaelsteve (comedy), and in third place, with an equal number
of mentions, are @ginaalopeez (comedy, makeup), @jhonycevallos, @melissaendara,
@jorgito_guayaco, and @jhontahancruzjc7 (comedy), all with humorous, motivational, and
aesthetic content.
In short, there is a consistent concentration on a small group of Ecuadorian TikTokers, particularly
@anthonnyswagg3, whose presence spans all educational levels. Popularity is not distributed
evenly because recognition in the digital environment does not depend exclusively on the academic
cycle, but rather on the ability of certain Ecuadorian TikTokers to maintain constant visibility
across different educational levels. This suggests that communication students tend to focus and
legitimize their attention on a small group of creators, reinforcing dynamics of symbolic
centralization in which a few profiles accumulate high levels of recall and positioning.
R2 based on OE2. Classify the content consumed by communication students, distinguishing
thematic preferences according to the academic cycle and the content shared by the most popular
Ecuadorian TikTokers.
Figure 2. Classification of content according to the academic cycle
0
5
10
15
20
25
30
12345678
ACADEMIC YEAR
Comedy
Social Commentary
Cooking
Motivational tips
Dance tutorials
Modeling
Music
Video games
Lifestyles
Beauty
Education
News
Cosplay
Source: Compiled by the author
As shown in Figure 2, the rst cycle highlights a preference for comedy content (25 mentions). is is followed by motivational
tips (19 mentions), music (18 mentions), and dance tutorials (18). is indicates that comedy plays a fundamental and
constant role as the primary source of entertainment for students, due to its ability to promote relaxation and disengagement
at various points throughout the academic year. e limited presence of categories such as education, social commentary, or
news suggests that in the early academic years, TikTok use is linked more to fun than to learning or reection.
e second cycle continues the trend toward comedy (22 mentions); however, mentions of motivational advice and music
decline. Meanwhile, cooking (11 mentions) features prominently. is shift is inuenced by TikTokers with diverse content (@
ginaalopeez or @leitogranda), who incorporate themes related to home life and everyday routines.
With reduced engagement, the third cycle ranks comedy (16 mentions) and music (7 mentions) among the top preferences.
e other categories achieve marginal gures. Consumption becomes sporadic and selective, with a lack of focus on critical
or professional content.
e fourth cycle features several themes: comedy (20 mentions), music (19 mentions), education (13 mentions), and
motivational content (13 mentions). e content from TikTokers such as @jhonycevallos or @jhonvalverde reects a dual
approach that blends humor with advice and inspirational narratives.
In the fth cycle, comedy decreases (13 mentions) while preference increases for lifestyle (15 mentions), social criticism
(10 mentions), education (4 mentions), and beauty (7 mentions). is indicates a shift toward content that reects personal
aspirations, professional identity, and critical thinking.
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Generation Z and Ecuadorian TikTokers: uses and gratications among university students studying Communication
ISSN: 1696-019X / e-ISSN: 2386-3978
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In the sixth grade, comedy is the most popular choice (15 times); however, there is an increase in the selection of social
commentary (9 times), lifestyle content (14 times), and education (6 times). is results in a balanced mix of educational,
reective, and entertaining content. is diversity of interests is framed within content aligned with personal and academic
goals, reecting more intentional consumption.
e seventh grade shows lower overall engagement; comedy (6 times) and motivational advice (3 times) remain the preferred
content. e limited content consumed reinforces the idea that entertainment serves a relaxing function rather than an
informative one.
In the eighth cycle, there is a diverse resurgence of content: comedy (19 mentions), music (15 mentions), lifestyle (13 mentions),
and education (11 mentions). e variety of thematic areas encompasses professional, emotional, and recreational domains.
Although slight variations are observed in the thematic classication, consumption is primarily associated with entertainment,
revealing a weak foundation in terms of educational or professional development. Even in the upper grades, comedy
maintains a dominant position, suggesting that the content created by Ecuadorian TikTokers has a greater inuence on
shaping preferences than academic progress itself. Although motivations diversify in the fth, sixth, and eighth cycles, this
does not displace the recreational umbrella but rather complements it. Consequently, the continuity in the thematic hierarchy
is grounded in recreation.
R3 based on OE3. Describe the predominant motivations in the content consumed by Communication students according to
the categories of Uses and Gratications eory, based on the most popular Ecuadorian TikTokers and the academic cycle.
Figure 3. Content preferences and their correlation with the Uses and Gratications eory
the content created by Ecuadorian TikTokers has a greater influence on shaping preferences than
academic progress itself. Although motivations diversify in the fifth, sixth, and eighth cycles, this
does not displace the recreational umbrella but rather complements it. Consequently, the continuity
in the thematic hierarchy is grounded in recreation.
R3 based on OE3. Describe the predominant motivations in the content consumed by
Communication students according to the categories of Uses and Gratifications Theory, based on
the most popular Ecuadorian TikTokers and the academic cycle.
Figure 3. Content preferences and their correlation with the Uses and Gratifications Theory
Source: Compiled by the author
In Figure 3, the first cycle shows high levels of motivation, with the “stress relief” category (50
mentions) and the “
affective
/aesthetic” category (35 mentions) standing out. Aesthetic
gratification is complemented by an attraction to content such as makeup and blogs, created by
content creators like @melissaendara, @donday, or @anthonnyswagg3. Cognitive gratification
(34 mentions) indicates that, in the early stages, students consume entertainment
-
based content to
stay informed and learn through tutorial
s.
In the second cycle, motivations related to stress relief (37 mentions), affective/aesthetic (22
mentions), and cognitive (22 mentions) remain predominant. The content consumed reveals an
active emotional component linked to humor, aesthetics, and symbolic identification with young
TikTokers. Meanwhile, at lower levels, the motivations are personal and social integration.
In the third cycle, fewer motivational factors are observed compared to the previous cycles. The
cognitive and affective levels do not exceed 27 mentions. This is explained by less interaction with
the content presented. However, stress relief (27 mentions) continues to emerge as the emotional
outlet in students’ personal identification.
0
10
20
30
40
50
60
12345678
ACADEMIC YEAR
Cognitive
Affective/Aesthetic
Personal integration
Social Integration
Stress relief
Source: Compiled by the author
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| 453
In Figure 3, the rst cycle shows high levels of motivation, with the “stress relief” category (50 mentions) and the “aective/
aesthetic” category (35 mentions) standing out. Aesthetic gratication is complemented by an attraction to content such as
makeup and blogs, created by content creators like @melissaendara, @donday, or @anthonnyswagg3. Cognitive gratication
(34 mentions) indicates that, in the early stages, students consume entertainment-based content to stay informed and learn
through tutorials.
In the second cycle, motivations related to stress relief (37 mentions), aective/aesthetic (22 mentions), and cognitive (22
mentions) remain predominant. e content consumed reveals an active emotional component linked to humor, aesthetics,
and symbolic identication with young TikTokers. Meanwhile, at lower levels, the motivations are personal and social
integration.
In the third cycle, fewer motivational factors are observed compared to the previous cycles. e cognitive and aective levels do
not exceed 27 mentions. is is explained by less interaction with the content presented. However, stress relief (27 mentions)
continues to emerge as the emotional outlet in students’ personal identication.
e fourth cycle shows one of the highest rates of stress relief (49 mentions), during which students begin to consider criteria
for thematic inclusion and exclusion, such as those published by @jhonycevallos or @jhonvalverde. Cognitive motivation (31
mentions) and aective/aesthetic motivation (29 mentions) remain high. Notably, this is the only cycle to record 12 mentions
in the personal integration category, reecting a more complex and functional experience in digital consumption.
e only cycle where the aective/aesthetic (30 mentions) and personal integration (10 mentions) categories predominate is
the fth. ere is still a strong emphasis on stress relief (27 mentions) and cognitive (18 mentions) spaces, conrming a mixed
trend between learning and emotional entertainment.
In sixth grade, a pattern similar to the earlier grades is observed, in that stress relief (31 mentions) and aective/aesthetic
(30 mentions) gratications continue to appear as the most predominant categories. In third place is cognitive content (21
mentions). is reects a balance in the selection of content that provides entertainment alongside academic or emotional
value. Motivational, social, and humorous discourse are combined within digital exploration.
e seventh cycle is characterized by the lowest interaction rates with the preselected categories; however, “stress relief” has
the highest number of mentions (11). Short-form content with a relaxing eect is preferred.
In the eighth cycle, motivations are consolidated: stress relief (38 mentions) and aective/aesthetic (32 mentions). is student
segment combines the consumption of humorous content with reective and emotional purposes, implying a greater interest
focused on critical thinking and stress reduction.
e preference for stress relief across all grade levels indicates that TikTok functions primarily as a mechanism for emotional
regulation in the face of academic demands, rather than as an educational tool. Although cognitive and personal development
dimensions appear at certain levels, they do not overshadow the platform’s recreational nature. Consumption responds
to dynamics of immediate gratication promoted by contemporary digital culture. Even in higher grades, where greater
alignment with professional and reective interests is observed, the aective and aesthetic component remains central, given
that identity construction and symbolic validation outweigh the critical or academic appropriation of the content.
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4. Discussion and Conclusions
e ndings of this study partially align with the research by Espinel-Rubio
et al.
(2021), who identify the aective and aesthetic
as recreational functions. However, they demonstrate that this landscape expands with the use of other platforms such as
WhatsApp, Facebook, and YouTube for academic purposes; their functionalities are leveraged for educational communication,
resource sharing, and the building of learning communities.
In comparison with subsequent studies, Virós-Martín
et al.
(2025) conclude that Spanish adolescents perceive the inuence of
digital tools on their social lives in a supercial manner, an aspect that contrasts with the case of Ecuadorian university students
regarding the inuence on their daily activities. However, it is claried that the European study is grounded in psychological
and social well-being, whereas the present research focuses on the academic sphere.
Fresneda’s-Osorio (2025) study highlights that both men and women access TikTok in a similar manner and consume content
primarily related to humor and sports, with no signicant dierences by gender. In contrast, the present study observes a
preference for comedy, followed by music, educational content, advice, and lifestyle topics, indicating a preference for a
variety of content.
Other studies, such as those by Cuesta-Cambra
et al.
(2021), conrm that young people actively use the internet out of a desire
to obtain real-time information. Although university students use the platform for entertainment, this does not imply that
they form a lasting emotional bond with content creators; rather, their use is limited to leisure and entertainment. In addition
to emotional escape and entertainment, other frequent uses include motivational advice, dance and cooking tutorials, and
educational content.
In this article, the results show that recognition of Ecuadorian TikTokers consistently centers on creators associated with
humor and motivation, particularly gures such as @anthonnyswagg3 and @jorgito_guayaco, who appear consistently across
several academic cycles. is recurrence conrms that entertainment constitutes the dominant focus of student consumption,
beyond specic variations at each level.
Regarding thematic areas, comedy achieves the highest values in most academic cycles, while education and social criticism
register signicantly lower gures. Although diversication toward lifestyle content and social criticism is observed in
intermediate cycles, these increases do not displace the preference for entertainment.
Stress relief shows the highest scores across nearly all levels, followed by the aective and aesthetic dimensions. erefore,
TikTok functions as a space for emotional regulation in the face of academic pressure. Although cognitive motivation reaches
signicant levels in certain stages, it fails to surpass the dimensions linked to leisure, highlighting a persistent tension between
the platform’s educational potential and its recreational use. e absence of educational content creates a gap between the
pedagogical potential of the digital environment and its actual adoption by university students. is poses a challenge for
Ecuadorian higher education in terms of critical digital literacy and the pedagogical reframing of social media.
One of the strengths of this study was the implementation of stratied analysis using cross-tabulation matrices for the
segmentation and cross-sectional analysis of the academic cycle variable and its relationship to the previously established
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objectives. is approach made it possible to observe in detail and with specicity the consumption preferences of university
students across the eight academic cycles.
e main limitation lay in the absence of a critical-interpretive component that delves into the meanings that college students
ascribe to the digital content they consume, preventing the capture of discursive or ideological nuances. Consequently,
it is recommended that future research incorporate qualitative techniques such as in-depth interviews, focus groups,
ethnographies, and discourse analysis. is will allow for a more reective perspective on the role of TikTokers as cultural
mediators and opinion leaders in youth and academic spaces.
Regarding digital inequalities and divides, the study did not incorporate socioeconomic variables, technological access, or
digital capital to explore structural dierences in TikTok usage. It is recommended that future research integrate indicators
related to access conditions, digital competencies, and socio-educational trajectories, in order to analyze whether recreational
consumption responds solely to cultural preferences or to inequalities in academic access capacity within socio-digital
environments.
5. Acknowledgments
is article has been translated into English by Alison Paulina Mena Barthelotty
6. Specic contributions of each author
Names and Lastnames
Study designBelén Flores Zúñiga
Methodology
Edison Cristóbal Lalangui Campoverde
Data Collection and AnalysisBelén Flores Zúñiga and Edison Cristóbal Lalangui Campoverde
Discussion and ConclusionsEdison Cristóbal Lalangui Campoverde and Belén Flores Zúñiga
Writing, Formatting, Review, and Approval of
Versions
Edison Cristóbal Lalangui Campoverde and Belén Flores Zúñiga
7. Conicts of Interest
e authors declare that there are no conicts of interest regarding the publication of this article.
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