Hawaii
Volcano Watch — ʻAilaʻau or Kualoloa? Hawaiian chants suggest lava flow name change – West Hawaii Today
Native Hawaiian oral traditions record a rich history of the changing volcanic landscape in Hawai‘i. Interweaving cultural knowledge with scientific disciplines can provide a more complete understanding of past events, including the largest known lava flow eruption of Kilauea.
During the 1970s, Robin Holcomb conducted his doctoral field work and research on Kilauea while working at the USGS Hawaiian Volcano Observatory. His work included mapping a series of lava flows (now called a flow field) that began erupting in the early-1400s from a vent near the eastern end of what is now Kilauea Iki crater, in the summit region of Kilauea volcano. Now, we know that the flow field was active for about 60 years and traveled in a northeast direction (as well as a small south branch), covering most of the Puna District north of the East Rift Zone of Kilauea. Holcomb referred to this flow field as “Aila‘au” after a reference he found in William D. Westervelt’s “Hawaiian Legends of Volcanoes,” published in 1916.
In ‘Olelo Hawai‘i (the Native Hawaiian language), ‘Aila‘au is to “consume trees.” Trees can be consumed by rot, or can topple during windstorms, lightning strikes, floods, and lava flows. ‘Aila‘au is also thought, by some, to have been an elemental force associated with volcanic activity prior to the arrival of Pelehonuamea (Pele of the reddish earth) in the Hawaiian Islands.
Holcomb noted that his choice of ‘Aila‘au as a name was provisional given that he only found it in one reference, and he was under a publication deadline. Hawaiian language sources during the last 40 years have rapidly become more available. Recently, researchers have been reminded of “Kualoloa,” a chant that accurately describes the emplacement of the flow field that Holcomb named ‘Ail‘au.
The chant “Kua loloa,” published in 1915 by Nathaniel Emerson in “Pele and Hiiaka, A Myth From Hawaii,” describes an eruption that began in the upland (ma uka) portions of the ahupua‘a (Native Hawaiian land division) of Keaʻau. The chant describes a broad geographic area affected by the eruption. The forests of Pana‘ewa and ‘Ola‘a were destroyed, with “a blanket of smoke” covering Puna all the way to ‘Apua.
Much of the District was devastated, according to the chant, which documents Pele destroying forests belonging to her sister, Hi‘iaka, as a result of a serious misunderstanding between them. Examining familiar place names in the chant, compared to the geographic extent of the flow field mapped by Holcomb, suggests that the chant chronicles the lava flows that he had named ‘Aila‘au. However, there is no mention of ‘Aila‘au in the Kualoloa chant.
The upland border of Kea‘au ahupua‘a, where the Kualoloa chant notes the eruption began, is near the eastern end of Kilauea Iki, where the mapped vent of the lava flows is located. The chant describes Pele moving northeast into Puna, through ‘Ola‘a and Pana‘ewa, following the mapped lava flow paths. A relatively small flow moved southward from the vent to ‘Apua, just as the chant implies.
A modern understanding of the timing of this eruption and its geographic extent, as well as more detailed knowledge of Native Hawaiian traditional place names, allows us to correlate the 15th-century eruption to the Kualoloa chant. This is an example illustrating the complex relationship between Native Hawaiian oral traditions and specific volcanic events and lava flows as documented in the geologic record.
Native Hawaiian oral traditions and scientific papers have different intended audiences and use their own vocabularies. Events described in chants are not “time-stamped,” but careful study of them, together with knowledge of place names, and clues from scientific evidence of natural phenomena, sometimes allow us to construct correlations between seemingly disparate sources of knowledge. What Holcomb had provisionally referred to as the ‘Ail‘au flow field, we now know should be labeled in future publications the Kualoloa flow field.
Volcano
activity updates
Kilauea is not erupting. Its USGS Volcano Alert level is ADVISORY.
Over the past week, earthquake rates beneath Kilauea summit and upper-to-middle East Rift Zone were half that of the previous week. About 15 earthquakes were located beneath the summit, and about 30 were located in the upper-to-middle East Rift Zone. Ground deformation rates continue to show slow inflation at the summit and near the September 15-20 middle East Rift Zone eruption site. Future intrusive episodes and eruptions could occur with continued magma supply.
Mauna Loa is not erupting. Its USGS Volcano Alert Level is at NORMAL.
One earthquake was reported felt in the Hawaiian Islands during the past week: a M3.1 earthquake 14 km (8 mi) S of Fern Forest at 6 km (4 mi) depth on Nov. 13 at 2:22 a.m. HST.
HVO continues to closely monitor Kilauea and Mauna Loa.
Please visit HVO’s website for past Volcano Watch articles, Kilauea and Mauna Loa updates, volcano photos, maps, recent earthquake information, and more. Email questions to askHVO@usgs.gov.
Volcano Watch is a weekly article and activity update written by U.S. Geological Survey Hawaiian Volcano Observatory scientists and affiliates.
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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