Hawaii
The paradise islands that don't want to be Hawaii
Getty ImagesThe Cook Islands is proving that sustainable tourism isn’t just possible – it’s essential. Here’s how this South Pacific nation is preserving their paradise for generations for come.
Landing on Rarotonga, the largest of the Cook Islands chain felt like stepping back in time. Gazing out of the taxi from Rarotonga airport to our resort, we were immediately struck by the absence of high-rise hotels, fast-food restaurants and corporate chains. There were no traffic lights, only coconut palms lining the road, the scent of salt and frangipani drifting through the air and the jungle meeting the ocean in a seamless panorama. It felt like Hawaii in the 1960s: uncrowded, laid-back and refreshingly authentic.
Our taxi driver pointed to a low-slung resort along the shoreline. “No building can be higher than a coconut tree,” she said. This isn’t just a local tradition but a law set in 1965 by the Cook Islands’ first premier, Albert Henry, to prevent overdevelopment. She explained that only Cook Islanders can own land, ensuring that large corporations don’t dominate the landscape. We looked out onto hotels blending naturally into their surroundings and white-sand beaches ringed with long green parks, all free from litter and crowds.
We soon learned that this preservation of paradise is deeply intentional. Cook Islanders have made a conscious effort to ensure that Rarotonga never follows the path of overdevelopment seen in places like Honolulu. Instead, locals have committed to conservation, low-impact tourism and sustainable practices that benefit both locals and visitors. “People come here because it is a paradise uncluttered by overdevelopment,” explained Jeremy Goodwin, regenerative tourism manager for the Cook Islands Tourism Corporation (CITC). “Our sacred duty as custodians of the land is to look after our paradise.”
Getty ImagesThe Cook Islands, an archipelago of 15 islands between New Zealand and Hawaii, has been self-governing in free association with New Zealand since 1965. With a total population of 21,000, the islands are divided into two groups: the Southern Cook Islands, which includes the more accessible Rarotonga and Aitutaki, and the remote Northern Cook Islands, made up of low-lying coral atolls. Cook Islanders have their own Māori language, with different dialects across the islands. And while tourism is a key industry, the islanders have ensured that sustainability remains at the nation’s core.
“For hundreds of years, the protection of the Cook Islands relied on the traditional Ra’ui System where access to a particular resource or area is forbidden for a given period,” explained Karla Eggelton, CEO of CITC. “The system aims to conserve food resources and protect ecological conditions in lagoons, reefs and other marine resources.”
Thoughtul Travel
Green Getaways is a BBC Travel series that helps travellers experience a greener, cleaner approach to getting out and seeing the world.
This philosophy persists today – and extends beyond the sea. On the northern island of Pukapuka, for example, locals have practiced sustainable living for centuries, packing up their belongings and sailing by boat to another atoll within the lagoon for seasonal periods to prevent resource depletion. They fish and farm only what they need, maintaining a delicate balance with nature.
On arrival at The Rarotongan Beach Resort and Lagoonarium, staff welcomed us with a warm “Kia Orana”, a greeting that translates to “may you live long”. It’s a unique gesture of friendship from islanders renowned for their hospitality and warmth. The resort overlooks the Aroa Lagoonarium, a snorkelling haven and a sanctuary for butterflyfish, parrotfish and angelfish. Part natural lagoon and part enclosed habitat, it is designed to support marine conservation, serving both as a coral nursery and a protected area for marine life to flourish.
Pamela and Gary BakerAs the days passed, we saw how sustainability is woven into everyday life across the islands. At the Muri Night Market, a popular outdoor dinner option, we watched vendors prepare island dishes like ika mata (raw fish marinated in lime and coconut milk) and rukau rukau (taro leaves in coconut cream), all using local ingredients. We were struck by the market’s Rent-a-Plate project, where visitors can borrow reusable plates and cutlery instead of using disposable plastic. Cook Islanders also promote clean water initiatives. We purchased reusable bottles from the visitor’s centre and refilled them at free UV-treated water stations around the island, a project led by the Te Ipukarea Society to minimise plastic waste.
How to play your part
1. Support the Cook Islands economy by buying local crafts, clothing and food. Attend a cultural tour or show and embrace the traditions, customs and lifestyle.
2. Take shorter showers to save the islands’ limited water supply and minimise electricity use.
3. Volunteer with Muri Environment Care Group. Every Wednesday and Thursday, visitors can join efforts to protect Muri Lagoon by participating in soil restoration projects and planting native trees near streams to control sediment flow into the lagoon.
4. Choose eco-friendly experiences and products, use reef-safe sunscreen and avoid single-use plastics.
Beyond sustainable dining, Cook Islanders have taken marine conservation to a global scale. In 2017, the country established the Marae Moana Marine Park, making the 15 islands the world’s largest multi-use marine protected area, covering 1.9 million square kilometres. The legislation also bans large-scale commercial fishing and seabed mining within 50 nautical miles of each island.
“Marae Moana is the idea of shared space, a new concept of creating a sanctuary and the conservation effort that allows for shared, sustainable activity,” said Eggelton.
Also offering opportunities for sustainable tourism is Aitutaki, a bucolic island neighbouring Rarotonga that’s known for its snow-white sand beaches, volcanic rock, coconut palms and crystal-clear lagoons. Here the Pacific Resort Aitutaki has launched a coral restoration project where guests can take part by affixing coral fragments to underwater mesh tables, helping regenerate the reef.
“The project is an example of Mana Tiaki or island conservation,” explains Goodwin. “Mana Tiaki means guardianship with a sacred purpose.” He explained that culturally, for most Polynesians, the ocean is sacrosanct. “The beaches bring tourists to this holiday destination, but they also connect Cook Islanders to the ocean.”
Getty ImagesAs the days passed, we explored the endless powdery white-sand beaches that ring Rarotonga, from Aroa Beach where fiery, colourful sunsets painted the sky with hues of vivid orange and crimson to serene and scenic Titikaveka Beach. They were all pristine and uncrowded, lined by palm trees, parkways and picnic tables. Most were unobstructed, with no commercial buildings to obstruct the view.
At Muri Beach, we opted for a sea turtle snorkelling tour. Our guide, Eric, explained the importance of turtles to the Cook Islands economically, environmentally and culturally. Daily tour operators earn an income by taking paying passengers to see these graceful, curious creatures. Plus, sea turtles are a key indicator of coastal ecosystem health, so monitoring and preservation are vital. Eric told us about a rescuer who found a turtle caught in a fishing net. Once freed, the Te Ara O Te Onu (Cook Island Sea Turtle Society) rehabilitated the turtle, as they have done dozens of times in the past. In addition to the society’s efforts, visitors are encouraged to help track turtle movement through the Citizen Science Project by taking photos and sending them into the programme.
By the time our trip had come to an end, we better understood how Cook Islanders have created a blueprint for preserving paradise by blending ancient conservation methods with modern environmental initiatives. “It’s about leaving both the people and the place better off than you found it,” said Eggelton.
Goodwin echoed the sentiment: This is our little paradise; if we all look after it, she will look after us.”
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.
Hawaii
Large section of Aloha Stadium demolished as project proceeds – West Hawaii Today
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.
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