15 sourced records. Reports are attributed claims, not proof of supernatural activity.
A disappearing-child story associated with Kaimukī's 16th Avenue bridge appears in Honolulu Magazine. The report establishes a local account; it does not independently verify its biographical details. Do not stop traffic or enter the roadway to investigate.
The former hotel building appears in Honolulu Magazine's reporting on downtown ghost stories. Tenants reportedly described figures in the hallways, while an elevator operator distinguished what he had heard from what he had seen. It is a business building, so a haunting reputation does not imply visitor access.
Honolulu Magazine records the former drive-in's tradition of a faceless woman in its restroom. The theater closed decades ago. This is a historical folklore case, not an operating haunted attraction or a verified account of an entity.
Honolulu Magazine records custodians' and students' reports of unusual noises and figures at Hamilton Library. These are attributed campus accounts. A library visit should respect study areas, university rules, and the privacy of everyone using the building.
A story recounted by Lopaka Kapanui concerns a senator's daughter recognizing Queen Liliuokalani's statue as a woman she had encountered inside the Capitol. Honolulu Magazine records the anecdote. Its significance lies in local remembrance and storytelling; the account does not establish an apparition as historical fact.
In a Hawaii News Now interview, storyteller Lopaka Kapanui described a dancer said to appear onstage and a presence associated with a former donor in the green room. These accounts formed part of his Chicken Skin storytelling program. The broadcaster documents the stories' attribution and contemporary performance context.
Museum director Jeffrey Higa told Honolulu Magazine about visitors and guides reporting a young girl in the Portuguese house and other unexplained experiences across the village. Ghost Hunters investigated the reports. The living-history museum’s haunting accounts are distinct from its seasonal Haunted Plantation attraction, which uses actors and theatrical effects.
Residents' reports of lights and crying appear in Honolulu Magazine's account of Kīpapa Gulch. The story is associated with night-marcher traditions. Such traditions deserve cultural context rather than being treated as proof or a reason to enter hazardous terrain.
Storyteller Lopaka Kapanui relayed reports from Waimanalo residents of bright airborne lights near the lookout. Honolulu Magazine notes that the witnesses could not determine the source. That uncertainty is the essential detail: unusual lights are reported here, while a ghost explanation remains an interpretation.
Honolulu Magazine preserves accounts of torchlit canoes and drumming at Maunalua Bay, attributed to older residents through storyteller Lopaka Kapanui. The stories connect with Hawaiian night-marcher traditions. They deserve cultural context and careful attribution rather than being presented as scientifically established supernatural events.
Storyteller Lopaka Kapanui recounts a postal employee allegedly appearing at work after his death. Honolulu Magazine presents the account as a ghost story passed through local telling. The report is preserved here as an attributed narrative, without treating its chronology or supernatural explanation as independently verified.
Magazine reporting describes guards' unease and prisoners' accounts of rattling doors at the correctional center. These are reports within a working institution, not evidence for ghosts. This listing is for research only and does not offer public investigative access.
Lopaka Kapanui told Honolulu Magazine of green lights reported above this cemetery and a headstone with apparently reversed dates. A puzzling inscription and eyewitness interpretation are different kinds of evidence. The cemetery remains a place of remembrance, not an invitation to an after-hours investigation.
Honolulu Magazine records ghost accounts shared by storyteller Lopaka Kapanui, including reports attributed to palace guards. The former royal residence has a history that deserves attention on its own terms. Accounts involving Hawaiian royalty should be attributed carefully and not presented as verified encounters.
The Maui film office identifies ʻĪao Theatre as a filming location for Haunted Collector’s Maui investigation. Contemporary coverage recounts performers’ claims of a female presence onstage and the investigators’ interest in an old silent-film reel. The team’s interpretation of a recorded mist remains a paranormal claim.
