Hawaii
Hawaii residents sick of early crowing and aggressive pecking could be allowed to kill wild chickens
HONOLULU (AP) — The crowing starts well before the sun rises over Mason Aiona’s home in Hawaii.
But the 3 a.m. rooster alarm isn’t what bothers the retiree the most. It’s spending most of the day shooing away wild chickens that dig holes in his yard, listening to constant squawking and feather-flapping, and scolding people who feed the feral birds at a park steps from his house.
“It’s a big problem,” he said of the roosters, hens and chicks waddling around on the narrow road between his Honolulu house and the city park. “And they’re multiplying.”
Communities across the state have been dealing with pervasive fowl for years. Honolulu has spent thousands of dollars trapping them, to little avail. Now state lawmakers are considering possible solutions — including measures that would let residents kill feral chickens, deem them a “controllable pest” on public land in Honolulu, and fine people for feeding them or releasing them in parks.
Chickens’ cultural ties
But one person’s nuisance is another’s cultural symbol, a dynamic that has also played out in Miami and some other cities with populations of wild chickens.
Kealoha Pisciotta, a Hawaiian cultural practitioner and animal advocate, disagrees with killing feral chickens simply because they’re a nuisance. Some chickens today descended from those brought to the islands by early Polynesian voyagers, she said.
“The moa is very significant,” she said, using the Hawaiian word for chicken. “They were on our voyaging, came with us.”
The Hawaiian Humane Society opposes letting residents kill the chickens “as a means of population control unless all other strategies have been exhausted.”
Aggressive birds
Rep. Scot Matayoshi, a Democrat representing the Honolulu suburb of Kaneohe, said he started crafting chicken control legislation after he heard from an elementary school teacher in his district that the birds were harassing the pupils.
“The children were afraid of them, and they would kind of more aggressively go after the children for food,” Matayoshi said.
Rep. Jackson Sayama said he introduced the chicken-killing bill because there are currently limited ways to get rid of them. The lethal method would be at the resident’s discretion.
“If you want to go old-school, just break the chicken’s neck, that’s perfectly fine,” said the Democrat who represents part of Honolulu. “There’s many different ways you can do it.”
A fowl problem keeps growing
Chicken eradication bills have failed over the years, Matayoshi said. Chicken birth control was an idea discussed when he was on a neighborhood board.
“I think there are people who are taking it more seriously now,” he said.
For more than 30 years, Aiona, 74, has lived in a valley near downtown Honolulu in a house his wife Leona grew up in. Wild chickens didn’t show up in their neighborhood until about a decade ago, they said. The birds proliferated during the COVID-19 pandemic.
He once saw a man take a chicken out of his car, leave it in the park and drive away, he said.
When the chickens first appeared outside his home, he caught one with his bare hands and put it in a plastic trash can, then drove it to a park near the airport. “I took off the cover, tipped it over and the chicken ran right out,” he said. “I said … ‘Don’t come back again.’”
But he quickly realized the time-consuming effort was futile.
He’s personally not interested in killing chickens, preferring for someone to scoop them up and take them to a rural farm. A city trapping program is too expensive, he said.
The city contracts with a pest-control company that traps chickens. A weeklong service costs a private property owner $375, plus a $50 cage rental fee and disposal fee of $10 per chicken.
More than 1,300 chickens were caught through the program last year, said Honolulu Department of Customer Services spokesperson Harold Nedd, who added the department also saw a 51% increase in complaints about feral chickens in 2025.
Chicken for dinner?
Wild chickens aren’t likely to make a cheap dinner. The meat is tougher than poultry raised for harvesting, and the feral birds can be a vector of disease.
One of Aiona’s neighbors shoos them with a leaf blower. “I have a blower, too, but mine is electric,” Aiona said. “It can only go so far with the cord.”
Aiona has grown tired of spending his retirement telling park-goers to stop feeding the chickens. And while he doesn’t recommend that anyone eat them, he welcomes anyone who wants one to come get it.
“No charge,” he said.
Hawaii
Kanakaʻole, Zane ʻohana transform Hawaiian cultural practices into captivating visual arts | Maui Now
This powerful new exhibition will feature the work of Nālani Kanakaʻole, Sig Zane, and Kūhaʻoʻīmaikalani Zane—a Hilo-based family of artists whose creative practices are deeply rooted in hula ʻaihaʻa.
Hula ʻaihaʻa is the low-postured, vigorous, bombastic style of hula that Kanakaʻole was known for as kumu hula of Hālau o Kekuhi. The hula springs from the eruptive volcano personas of Pele and her sister Hiʻiaka, characteristic of Hawaiʻi Island’s creative forces.
The Bishop Museum, the State of Hawaiʻi Museum of Natural and Cultural History, on Oʻahu is presenting “Ea Mai ʻEiwa: Patterns of Practice” in the J. M. Long Gallery beginning on Saturday, April 18, 2026.
The exhibition title references “Kūhaʻimoana,” a chant describing the migration of shark gods from Kahiki (ancestral homeland) to Hawaiʻi. “Ea Mai ʻEiwa” reflects the strength, resilience, and environmental knowledge embodied in these ancestral stories.
Bringing together new and existing works alongside botanical specimens and cultural treasures from Bishop Museum’s collections, the exhibition weaves themes of migration, community resilience, and environmental stewardship—offering insight and inspiration for today.
“This exhibition demonstrates that the gap between historic collections and contemporary art is actually a lot smaller than people think,” said Sarah Kuaiwa, Ph.D., Bishop Museum curator for Hawaiʻi and Pacific Cultural Resources. “Audiences will see how the artists use the same materials as pieces in Bishop Museum collections but in different forms. The resonance between the artist’s work with mea kupuna (ancestors) is what makes ‘Ea Mai ʻEiwa’ a uniquely Bishop Museum exhibition.”
Kuaiwa curated the group exhibitions along with co-curator, kumu hula Kauʻi Kanakaʻole, and Bishop Museum exhibit designer, DeAnne Kennedy.
The artists’ work across visual and performing arts is continually charged and sustained by hula. From Nālani Kanakaʻole’s art direction and choreography to Sig Zane’s photography and textile design, and Kūhaʻoʻīmaikalani Zane’s graphic design and immersive installations, each artist channels ʻike (knowledge, wisdom) carried through generations.
“Through repetition, deep study, and consistent practice, mastery is achieved. As practitioners of hula, the artists have continued to deepen their understanding of the natural and spiritual world, which has in turn inspired their art practices,” Kuaiwa said. “They aim to produce art in various visual media not only to educate, but to also be aesthetically celebrated and enjoyed.”
“Patterns of Practice” was suggested by Sig Zane as a way of representing how the artists hone their skills.
“‘Kūhaʻimoana,’ for me, has many layers to it,” Kūhaʻoʻīmaikalani Zane said. “On a first take, it’s a migratory chant that compares migrations to waves of ocean-navigating sharks. That metaphor sets out the tone of connectivity between our natural environment and the beings that inhabit it.”
“‘Kūhaʻimoana’ is an example illustrating metaphorical depth within Hawaiian poetry,” said Sig Zane. “The importance of navigation surfaces in day-to-day cultural practices. This archaic chant reveals nuanced content, giving us a peek into hierarchy, dualities, and familial belief systems.”
Kanakaʻole passed away in January this year, so Kauʻi Kanakaʻole hopes that “Ea Mai ʻEiwa: Patterns of Practice” reflects Kanakaʻole’s philosophy of practice and piques curiosity within people about others’ stories, history, and culture.
“She intentionally taught hula with depth of language, craft, and art form to encompass a full-on lifestyle commitment,” Kanakaʻole said. “This was her everyday; the way she learned, grew, and inspired.” “I would love for guests to leave (the exhibition) with a mixture of awe, appreciation, and curiosity.”
Highlights of the “Ea Mai ʻEiwa: Patterns of Practice” exhibition include:
- Nālani Kanakaʻole’s kite installation, “Kūhaʻimoana,” her last large-scale installation before her passing
- Botanical specimens from various locations across Hawaiʻi Island, chosen to represent their hula ʻahu (altar) and sources of inspiration the artists frequently draw from
- Uniquely colored kūpeʻe (sea snails) shells made into adornments, as well as adornments made to look like kūpeʻe shells
- Kapa (barkcloth) made from the 19th century with dynamic designs
- ʻAwa (kava, Piper methysticum) cups and kānoa (kava bowl) associated with the aliʻi
- New and archival sketches and rubylith artworks by Sig Zane from 1990 to present
- A collection of family photos from the Kanakaʻole ʻOhana
- Memorabilia and ephemera from the theatrical performance, “Holo Mai Pele” (1995-2000)
“Ea Mai ʻEiwa: Patterns of Practice” will be presented in both ʻŌlelo Hawaiʻi and English, and will be on view until Sept. 20, 2026.
For more information, visit bishopmuseum.org.
The demolition of Aloha Stadium on Oahu took a big step forward Thursday with the first section of seating pulled down from the steel structure.
Half of the elevated deck-level seating on the stadium’s makai side was severed and toppled backward as part of demolition work that began in February.
The other half of the upper makai-side seating is slated to come down Tuesday, followed by similar sections on the mauka side and both end zones, though the concrete foundations for lower-level end-zone seating are being preserved for a new, smaller stadium to rise on the same site.
A private partnership, Aloha Halawa District Partners, led by local developer Stanford Carr, is replacing the 50,000-seat Aloha Stadium, which opened in 1975 and was shuttered in 2020, with a new stadium featuring up to 31,000 seats.
AHDP is using $350 million of state funding toward the cost of the new stadium, which could be $475 million or more, and will operate and maintain the facility on state land for 30 years with a land lease.
The development team also is to redevelop much of the 98-acre stadium property dominated by parking lots with a new mixed-use community that includes at least 4,100 residences, two hotels, an office tower, retail, entertainment attractions and open spaces expected to be delivered in phases over 25 years and costing close to or more than $5 billion or $6 billion.
Earlier parts of stadium demolition work led by Hawaiian Dredging Construction Co. included removing four covered multistory spiral walkways leading to the upper level from the ground, and concourse bridges.
Demolishing the stadium is projected to be done by August, according to Carr.
Building the new facility is expected to be finished in 2029.
Hawaii
This Airbnb Tiny Home Sits on a Lava Field in Hawaii With Unbeatable Night Sky Views—and It’s a Guest Favorite
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