Hei karaka (Red karaka seed necklace)

A red-dyed hei karaka (karaka seed necklace) created in 2022 by weaver Tangimoe clay.

Hei Karaka

The lei or hei karaka is a form of adornment that was developed in 2021 by renowned weaver Tangimoe Clay (Te Whakatōhea). These necklaces are constructed using the peeled and dyed berry of the karaka (Corynocarpus laevigatus) which is then strung with whītau (muka, New Zealand flax fibre). The seed of the karaka is poisonous unless properly prepared, and in the past it was an important food source for Māori and Moriori in an environment where carbohydrates were rare. Tangimoe, who enjoys eating the fruit was inspired to utilise the berry seed when she observed the amount of waste from un-eaten karaka fruit, as it is rarely eaten today. The use of karaka seed was a natural adaptation for Tangimoe whose weaving and creative practice has long been guided by sustainable and eco-friendly principles that utilise local resources and recognise their connection to whenua and environment.

"Very few people eat karaka anymore so there’s a lot of waste. To me it tastes like mango, but they are also beautiful. I hope it sets a trend for people to use and utilise native berries as the beautiful adornment they should be."

Tangimoe Clay, 2022.

To ensure she does not make poisonous or toxic art. Tangimoe is careful to remove the flesh of each berry and ensures that they are cooked properly. Tangimoe likens this process to removing the tapu from the berries and rendering them noa, making them accessible to people for use. Maintaining her practice of sustainability the resulting liquid is also utilised by Tangimoe as a weed killer.

Notes on hei use by Māori:
There are several modern practitioners who work with karaka berries, and while this form of adornment is associated today with Pacific Island cultures there is also a historical use of berries, seeds, shells, and grasses in pre and early contact Māori hei culture, for example, tawapou seeds were frequently strung into necklaces and bracelets.  There are some modern examples in Te Papa’s collections and an older example in the British Museum. The form has also been replicated by modern jewellers (Māori and non-Māori).
 
 Other materials were also utilised as hei or neck adornment historically by Māori such as karetū (holy grass) which was braided into necklaces of belt called tu karetū. Dentalium and other shells such as pāua were also utilised.

Tangimoe Clay:

Tangimoe Clay is a noted weaver of Te Whakatōhea descent who first became interested in weaving and harakeke around 1988, during the restoration of Turere marae near Ōpōtiki. During this time Tangimoe became involved in the care and restoration of the marae Pā Harakeke, and through this work she fell in love with flax and began to learn the differences between the varieties. Eventually Tangimoe approached Maggie Tai, who taught her to make her first tipoti (small basket). From here Tangimoe began experimenting with different techniques used to weave kete and whariki, igniting her passion for raranga.

After learning to weave, Tangimoe went on to found Tangata Whenua Gallery based in her home town of Ōpōtiki, which has become a staple gallery within the region for over 20 years. Tangata Whenua is known for featuring an ongoing diverse range of Māori artists in a variety of traditional and contemporary mediums. Despite having a strong background in raranga, Tangimoe continued to seek new ways to advance and increase her creative skills, including graduating with a Bachelor of Māori Visual Art from Te Wānanga o Awanuiārangi in 2014.

Today, Tangimoe is known amongst Aotearoa’s kairaranga as an innovative weaver who is experienced in a variety of natural fibres and products both traditional and contemporary. She advocates strongly for the use of sustainable materials in Māori art and weaving. Though Tangimoe is known for her poi making skills which traverse the line between art and function, she is also experienced in traditional kākahu, whariki and kete making. Her works tend to be large scale, boundary pushing, and straddle the line between sculptural and conceptual. Tangimoe is well known among museums and galleries both in New Zealand and internationally, and has featured in many exhibitions both solo and collaborative. Tangimoe has also featured in several publications including Whatu Kākahu / Māori Cloaks edited by Awhina Tamarapa, spoken and presented events and has created many diverse works private and museum collections, Te Papa included. Tangimoe remains a highly active key member of Te Roopu Raranga Whatu o Aotearoa.

References
https://thespinoff.co.nz/atea/14-02-2018/how-to-prepare-the-delicious-but-poisonous-karaka-berry
https://teara.govt.nz/en/tall-broadleaf-trees/page-6
https://maoridictionary.co.nz/search?idiom=&phrase=&proverb=&loan=&histLoanWords=&keywords=karaka
https://teara.govt.nz/en/tall-broadleaf-trees/page-6
https://collections.tepapa.govt.nz/topic/2996
http://nzetc.victoria.ac.nz/tm/scholarly/tei-BesFore-t1-body-d1-d9-d4.html
https://thespinoff.co.nz/atea/14-02-2018/how-to-prepare-the-delicious-but-poisonous-karaka-berry
https://www.doc.govt.nz/globalassets/documents/science-and-technical/dsis101.pdf
https://www.tepapa.govt.nz/sites/default/files/maramataka-poster.pdf
http://nzetc.victoria.ac.nz/tm/scholarly/tei-BesFore-t1-body-d1-d9-d4.html
https://www.doc.govt.nz/globalassets/documents/science-and-technical/dsis101.pdf