Hawaii
Hawaiian Salt Makers Aim to Protect Tradition
Last summer on the Hawaiian Island of Kauai, Tina Taniguchi was working close to the ground. Her coconut leaf hat covered most of her thick brown hair. Wet soil had gotten on her clothes and her smiling face.
Taniguchi smiles a lot while working on the Hanapepe salt patch on the west side of Kauai. It is a piece of land about half a hectare in size with pools of salty water. The salt becomes crystals as the water dries.
“It’s hard work, but for me it’s also play,” Taniguchi said with a laugh.
Spiritual tradition
Taniguchi’s family is one of 22 families who make “paakai,” the Hawaiian word for salt, following a cultural and spiritual tradition. Hanapepe is one of the last remaining salt patches in Hawaii. Its holy salt can be traded or given away but must never be sold. Hawaiians use it in cooking, healing, rituals and as protection.
Taniguchi drives a car for about an hour to get to the salt patch. For her, it is like religion and play at the same time. It is the time when she makes a spiritual connection to the land.
“This would be a religious practice of mine for sure,” Taniguchi said. “My dad raised us saying that these mountains are his church, and the ocean is where you get cleansed.”
Malia Nobrega-Olivera is another salt maker. She is also an educator and activist who leads efforts to preserve this old tradition. Her grandfather helped form the group of salt-making families called Hui Hana Paakai. The organization’s goal, she said, is to communicate with the landowner, the state of Hawaii, whenever problems arise. Nobrega-Olivera said the salt patch is part of the lands taken away from Native Hawaiians after the U.S.-supported overthrow of Hawaii’s monarchy in 1893.
Native claims to the land
“Regardless of what a piece of paper might say, we are stewards of the area,” she said.
Over the past 10 years there have been several threats to this field. They include development, pollution from a neighboring airfield, damage to the sand from vehicle traffic and waste left by visitors to the nearby beach. In addition, rising sea levels and weather might stop the practice.
Nobrega-Olivera believes Western science and native knowledge can combine to combat the effects of climate change and save the salt patch. The steps she takes include building up the wells’ edges, so water won’t cover the salt beds. Another step is to prevent damage to the beach from vehicle traffic.
“Some ask us why we can’t move this practice to a different location,” she said. “That’s impossible because our cultural practice is particular to this land. There are elements here that make this place special for making this type of salt. You cannot find that anywhere else.”
The process of making salt
The process of turning sea water into salt can be slow. The season begins once the rain stops, and water starts to disappear from the salt beds. Ocean water travels underground and enters the wells. Each family has their own well. As water enters the well, so do tiny, red brine shrimp. These small ocean animals give Hanapepe salt its unusual, sweet taste, said Nobrega-Olivera.
The families first clean the salt beds and line them with black clay. Then they move water from the wells into the beds. There, salt crystals form. The top level, or layer, is the whitest. It is used for table salt. The middle layer is pinkish and is used in cooking, while the bottom layer, which is a deep red color, is used in blessings and rituals.
Fires on the island of Maui in August claimed 100 lives. After the fires, salt makers began sending their salt to survivors, so they can “make their food delicious and bring some of that joy into their lives,” Nobrega-Olivera said.
Keeping traditions alive
Interest in Hawaiian culture and language has recently grown on the islands, Nobrega-Olivera said. She now thinks about how to teach her knowledge to younger generations.
One way she honors the Hanapepe salt patch is by writing Hawaiian songs and chants. She recently taught some school children one of those chants using the words aloha aina, which means “love of the land.”
“Aloha aina captures our philosophy, the reason we do this,” Nobrega-Olivera said. “You take care of the land, and the land takes care of you.”
I’m Dan Friedell.
And I’m Jill Robbins.
Deepa Bharath reported on this story for the Associated Press. Jill Robbins adapted it for Learning English.
______________________________________________
Words in This Story
patch – n. a small area of land where a particular plant or crop grows or is produced
crystal – n. a small piece of a substance that has formed naturally into a regular symmetrical shape.
ritual – n. a religious service or other ceremony which involves a series of actions performed in a fixed order
cleanse – v. to make clean, pure
steward – n. someone who has the responsibility for looking after property
preserve – v. to save or protect something from damage or decay
clay – n. a kind of earth that is soft when it is wet and hard when it is dry
blessing – n. a prayer asking God to look kindly upon the people who are present or the event that is taking place
chant –n. to sing a word or phrase repeatedly usually in connection with prayers or a religious ceremony
philosophy –n. a system of ideas about truth and meaning
What do you think of this story? Write to us in the Comments Section.
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
:max_bytes(150000):strip_icc()/tal-airbnb-one-off-tout-1465b3bde0864117b43761b0d1dd346e.jpg?ssl=1 "This Airbnb Tiny Home Sits on a Lava Field in Hawaii With Unbeatable Night Sky Views—and It’s a Guest Favorite")
-
Illinois24 seconds agoMultiple people shot in Centralia, Illinois: REPORT
-
Indiana6 minutes agoIndiana mother charged with neglect after baby’s co-sleeping death
-
Iowa12 minutes agoFormer Iowa State star, All-American Audi Crooks announces transfer destination
-
Kansas18 minutes agoTyler Reddick needs OT at Kansas to claim fifth win of NASCAR season
-
Kentucky24 minutes agoVanderbilt baseball’s series win vs Kentucky revelatory
-
Louisiana30 minutes agoLouisiana shooter Shamar Elkins made chilling remarks about ‘demons’ weeks before killing his 7 kids and their cousin
-
Maine36 minutes agoA remote Maine town is ready to close its 5-student school
-
Maryland42 minutes agoMaryland Lottery Pick 3, Pick 4 results for April 19, 2026