From the Book HANABI
Japan Publications 1986
ISBN - 0-87040-706-6



Fireworks! How fantastic they are. and how
fascinating to the eyes and minds of children.
When it comes to fireworks, even adults
suddenly find they still have the eyes and minds
of children. Even small fireworks--squibs and
roman candles and Catherine wheels--hold us
spellbound for the brief time they are alight and
moving. Howmuch morethoselargerfireworks
that burst high up in the air in flowers of breath-
taking beauty. No wonder the Japanese call
them hanabl, or flowers of fire.

What is the reason of this fascination? It is.
no doubt. the manifestation of some hidden
power in the world of nature. It is the power of
fire, in which the Greek philosopher Heraclitus
found the source and origin of all existence. It is
a fearful power when it gets out of control, as in
the Great Fire of London or in the fires of Tokyo
towards the end of World War 11. Yet for all its
fear, it fascinates us. In the form of fireworks,
however, we find not its fear but only its
fascination.

At the same time, fireworks, more than other
forms of fire, leave in us a feeling of
evanescence. No sooner do they appear, like
the sudden unfolding of a bright flower in the
darkness. than they disappear. They come, as it
were from another world. in a brief moment of
intersection between time and eternity--and
then they are gone. Such. we reflect, are all our
joys in this imperfect world. Such, too. is the life
of man--beautiful but brief. and the briefer it is.
the more beautiful it becomes.

My own memories of fireworks go back to
the days of my English childhood. when we
celebrated Guy Fawkes Day on the fifth of
November. This celebration was instituted to
recall the discovery of the Gunpowder Plot. to
blow up the two Houses of Parliament. In 1605.
Guy Fawkes was the man who was caught in the
act of setting fire to the fuse. Thus, unlike the
Japanese who like to let off fireworks on hot
nights of summer. we English associate them
(like ghost stories) with a cold night in winter.
And if we recall the historical origin of Guy
Fawkes Day, we also associate the fantasy of
fireworks with the fear of gunpowder.

These two things, the fantasy and the fear,
strangely fit together. It seems that the fire
powder, which is common to both, originally
came from the East. from India and China.
There it was invariably the fantastic aspect that
prevailed, even in time of war, when the fire was
used not so much to destroy as to terrify the
enemy. This is perhaps because of the
contemplative attitude to nature characteristic
of the East. In the West, however, our attitude is
more practical, as in the famous dictum of Sir
Francis Bacon that "knowledge is power". So
when this strange powder came to the West.
towards the end of the Middle Ages, it was
chiefly used for its destructive properties, as
gunpowder.

Looking up the word in the Oxford Engllsh
Dlctlonary. I find it interesting that the first
recorded use of ''fireworks" in its fantastic
sense occurs in 1575, in connection with a
firework display given at Kenilworth Castle in
honour of Queen Elizabeth. On this occasion, it
is conjectured. the young William Shakespeare
himself was present. For Kenilworth was only a
few miles from his home in Stratford; and in his
playA Mldsummer Nlght s Dream he recal Is the
entertainments presented on the occasion,
though not the actual fireworks. Elsewhere,
however. he refers more generally to "some
delightful ostentation. or show, or pageant, or
antique. or firework" in Loves Labours Lost.

Both in Shakespeare's time and since.
fireworks have commonly been regarded in the
West as a special. because expensive, form of
entertainment. Only on the fifth of November
are they as it were domesticated and
democratized. in our back gardens at home. In
the past. when fireworks were let off at official
celebrations--as at the royal display in 1749,
for which Handel composed his famous music
for the Fireworks--they were entrusted to the
expert care of "fireworkers", as soldiers of the
artillery were called.

In the East, however, they have been closer
to common life. Of course. there are the many
special occasions, as at Nagaoka and the
Sumida river. when vast sums of money are
spent on their display; but they are also let off in
private homes--where they still have
gardens--on many a summer night. To my
English mind it is as if every night in summer is a
commemoration of Guy Fawkes, without the
guy. This is what makes me still think. as I
thought on my first arrival in Japan some thirty
years ago. that this country is indeed a
fairyland. In the daytime its fairy-like quality may
be concealed beneath the increasing advance
of industrialism; but at night it is this very
advance that contributes to the multitude and
magnificence of the firework displays in
summer.

In proof of this assertion I need do no more
than point to the pages that follow, with their
silent but eloquent testimony. Yes. Japan is at
once the land of hanaml (or cherry-blossom) in
spring and of hanabl (orfireworks) in summer. It
is still. for all its industrial development, the land
of flowers and of fairies. On the surface the
Japanese may seem a practical, even
materialistic people; but one only has to scratch
this surface a little, to discover their fire and
fa ntasy.  ~Professor of Sophla Unlverslty)

The Origin of Fireworks

Development from Signal Flares

In the strictest sense. fireworks as we knowthem
today were born sometime after the invention of
gunpowder. However. it is said that the idea of
fireworks had already existed in ancient India and
Persia. as well as in classical Greece and Rome.
Looking further back in history in search of the
origin of fireworks, we encounter the use of flare
signals--the alleged prototype of fireworks--which
can be traced back to long before the time of Christ.

In 21 1 B.C., China was unified by Shih-huang-ti
of Chin. To arrest the penetration of the nomads
from the northern steppes. he builtthe GreatWall of
China, which was designed to have signal towers at
strategic points. They were used to warn the army
behind the wall of any intrusion by enemy forces.
Smoke signals were used during the day and
bonfires at night. It is believed that saltpeter
(potassium nitrate), the main ingredient of black
gunpowder, was added to the firewood.

Black gunpowder is known to be the oldestform
of explosive. Composed of 70% potassium nitrate,
15% sulphur. and 15% charcoal. it is indispensable
in fireworks.

It has been widely known in China since ancient
times that the addition of potassium nitrate to
firewood made the fire burn in a peculiar manner.

A story is told that in 616 A.D., during the Sui
dynasty, a flare signal--summoning reserve troops
to military service--was set off to entertain the
morose wife of the emperor Yang-ti. When the
soldiers gathered. all with a sullen look on their
faces, the sight was so amusing that it made her
laugh. Some historians believe this to be the first
instance of the use of flares as fireworks.

In the following Tang dynasty (618-907), China
witnessed the invention of gunpowder. Considering
that potassium nitrate had already been in use for a
long time. this came somewhat late.

Even if fireworks seem to have been used during
Tang times with the introduction of gunpowder, a
different theory claims the first appearance of
fireworks in China during the Southern Sung
dynasty (1127-79). During this period, proper
fireworks are said to have been introduced into the
market and used in court entertainments.

Florence--the Birthplace of Modern Fireworks?

The basic technology for the creation of
gunpowder was first developed in China, and
Arabian merchants introduced it to Islamic
countries in the 1 3th century. The knowledge of this
novelty was relayed to European intellectuals via
Arabian literature during the latter half of the
century. and in the early 14th century Europeans
acquired the use of gunpowder during the
Fireworks and the Edo
Period

Crusades.

Following the introduction of gunpowder.
fireworks came into use in Europe. The first such
use is said to have taken place in Florence, and from
there fireworks spread rapidly into all parts of the
Continent. For this reason Florence is claimed to be
the birthplace of modern fireworks.

Nevertheless. no literature exists to support this
claim. The origin of fireworks in Europe cannot be
traced to a specific period or location as in the case
of China. The history of fireworks seems to have
been shrouded in mystery due to the inherent
dangers and the need for secrecy deriving from
their military significance.

Fireworks Become Popular after the Advent of
leyasu

No one is sure when fireworks were first used in
Japan. There are numerous conflicting claims as to
the date. It is said that the first person of note in
Japan to see fireworks was Tokugawa leyasu. In a
biography. the Butoku-hennen-shusel (Annals of
Butoku), as well as in the Sunpu-fu Seljl roku (The
Political History of the Suruga Government) and the
Kyuchu Hlsaku (Secret Court Policy), he is
described as having gone to view a fireworks
display. The above mentioned documents are
records of the two meetings on August 3 and 6.
1612. between leyasu and an Englishman, John
Salis. the founder of a trading house in Nagasaki.
Salis. as an official representative of James 1,
presented a letter from the king to leyasu at one of
these meetings.

The meeting between leyasu and John Salis is a
historical fact. and the letter from James I is
reportedly preserved in the British Museum.

As a result of the absence of reliable sources
prior to leyasu's first encounter. this event has been
considered the start of the history of fireworks in
Japan.

Following this. fireworks became popular with
the daimyos. or feudal lords. The spectacles
orchestrated by major lords of Owari, Kishu, and
Mito, as well as of Sendai and Kaga, were
particularly popular, attracting flocks of the
common people of Edo seeking relief from the
summer heat to watch the fireworks.

The third shogun. Iemitsu, a famous fireworks
fan, allegedly encouraged the use of fireworks on
various occasions. This provoked the rapid
popularization of fireworks among the common
people. Eager to embrace anything novel, the
people quickly made them a part of their lives.

Boating on the Sumida River Reaches the
Pinnacle of Luxury

Boating on the Sumida River started in earnest
after the transfer of the Tokugawa shogunate to
Edo. The first such pleasure-seekers were the
daimyos, who installed roofs on their boats and
drank sake with courtesans. Boating reached the
height of its popularity during the reign of lemitsu.

The Great Fire of 1657 devastated Edo and
brought boating trips to a halt. However. the city
recovered and expa nded at a startling speed. so that
in the late 1 7th century the daimyos. hatamotos
(warrior classes directly under the shogun). and the
merchants prospered and led lives of extravagant

I uxu ry.

The completion of Ryogoku Bridge in 1659
stimulated much boat cruising along the river,
attracting many who sought to escape from the
summer heat. Later, fireworks launched into the sky
around the bridge became one of the attractions of
the city.

The Noryo Hanabl ('coolness-in-summer' fire-
works) were similar to today's Gangu Hanabi
(fireworks for the general public). Vendors on boats
peddled their firecrackers to the customers on the
roofed boats and displayed them at their request.

Although the use of fireworks had spread also in
the city. the enforcement of orders restricting the
use of fireworks to the Sumida River resulted in the
spectacle of large number of pleasure boats
emitting fireworks during the summer.

The practice of celebrating the opening of the
boating season with fireworks dates back to 1733,
the year following a great famine. in which swarms
of locusts decimated crops in western Japan. Many
people also died in the epidemics that ravaged the
land.

The shogunate (under the eighth shogun
Yoshimune). seeing the gravity of the situation,
sought to dispel evil spirits and illness by holding a
suljln-sal. or water god festival. on the Sumida River.
On this occasion. eating houses were allowed to
open on Ryogoku Bridge and fireworks were
launched. This was later adopted as one of the
customs for celebrating the commencement of the
boating season.

Spurred by such displays of fireworks. the
daimyos. whose residences were located along the
river, sought to entertain themselves with their own
firearms and so-called Noroshi Hanabl (flare
fireworks) which were invented by their own
explosives experts. This provided the basis for the
large-scale firework spectacles created later by
specialist craftsmen.

The Two Great Craftsmen Who Captivated Edo

The development of Ryogoku fireworks is
without doubt due to the two great craftsmen Kagi-
ya and Tama-ya.

The founder, Kagi-ya, was dexterous with
fireworks even from childhood and is fabled for his
trick of balls of fire scaring government officials who
visited his home from time to time. He first began
selling fireworks at his store in Nihonbashi in 1659.
The sixth descendant of his family was the first to
win charge of the Ryogoku fireworks, and
contributed to the success of Kagi-ya as the annual
spectacle which attracted the greatest attention.

Tama-ya started out as an apprentice of Kagi-ya
but soon became very popular on his own account.
so that his reputation exceeded that of his former
master. It was during this period that fireworks
appeared in many ukiyoe ("floating world") prints.
Many such pictures featured Tama-ya fireworks,
attesting to their popularity and sophisticated
tech nology,

However, a fire in 1843 in the Tama-ya
workshop burned down not onlythe workshop itself
but many neighboring houses. At the time. fire--
both arson and accidental fires--was considered to
be a serious crime. particularly on the day before the
shogun's pilgrimage to Nikko, and Tama-ya was
expelled from Edo and his family heritage
destroyed--despite the immense support of the
people.

Meanwhile. Kagi-ya continued to be responsible
for the Ryogoku event. and his name was handed
down through the generations.
Fireworks After the Meiji
Restoration

Fireworks Become Fashionable during the ''Meiji
Period''

The chaos created by the fall of the shogunate
distracted the attention of the people of Edo from
firework displays on summer nights and the
Ryogoku event was suspended after 1863.

It was revived, however. on June 8. 1868. The
excitement created by firework displays at that time
was extremely high; the enthusiasm of today is no
match. The fact that special trains were put on by
the national railways in 1 874forfireworkdisplays is
eloq uent testi mony to th is.

The enthusiasm of the common people for
firework displays was not affected by Western
influences, and remained as great as it had been in
the Edo period. However, when the Ryogoku Bridge,
Jampacked with spectators. started to split in two in
1897. new laws were decreed forbidding booths to
be opened on the bridge on the day of thefireworks
and prohibiting persons from even strolling on the
bridge.

From then on, sightseeing boats became subject
to rigid supervision. and firework displays by
persons other than the official organizers were
prohibited.

Introduction of a New Type of Gunpowder Brings
Dramatic Changes

Despite such administrative interference, the
growth of the popularity of fireworks saw no end;
this was not unrelated to the development of
firework technology at that time.

The introduction of potassium chlorate into the
country around 1879 brought a revolutionary
change to Japanese fireworks.

Fireworks had until then used black gunpowder,
composed mainly of potassium nitrate, sulphur,
and charcoal. which ignited at an estimated 1700
degrees. This had given the explosion a dull red
color. The addition of potassium chlorate raised the
combustion level to more than 2000 degrees
allowing bright reds and greens to be emitted.

The debut of the new ingredient drew a line
between the older "Japanese" fireworks and their
new "Western" counterpart. and was a turning point
flreworks technology.

This great innovation in the Meiji period also
witnessed a considerable number of accidents
caused by insufficient knowledge in handling such
chemicals. Especially because of the high risk
involved in mixing potassium chlorate with other
chemicals--increased susceptibility to slight shocks
and friction--serious accidents occurred.

Nevertheless, the skilled craftsmen of the time
vied with each other to create a spectacle of
unparalleled grandeur in the face of such danger.
Fireworks competitions were held around the
country. and many a skilled craftman launched his
masterpieces to display his skills. This was the dawn
of the age of modern fireworks.

During the Taisho period (1912-1923), the
development of skills was most clearly seen in
changes in the shape of fireworks.

For instance, one type of firework that appeared
in the mid-Taisho period is called the poka mono
(crack shell). because it splits into two in the air and
lets out a flow of stars in one direction. Iike a willow
swaying in the wind. In another. called kowarl-mono
(small crack shell). balls that suggest tiny
chrysanthemums and peony blossoms pour out
from the cracked shell. It is recorded that the sight of
petals scattering in the dark sky impressed and
thrilled the spectators.

In the late Taisho period. the kowarl-mono was
improved to show double bipetalled flowers or an
additional core to the flower, called the yae-shln
(double core).

A Blank Phase in History

Competitions among firework craftsmen peaked
during the Taisho and early Showa period. The
effects they created were astoundingly beautiful; yet
these men refused to discuss any matter
concerning their know-how and the efforts they
made to create their ephemeral shows. The tradition
of passing on trade secrets only to the craftsman's
own son died hard. Knowledge was kept under
cover and restricted to close relatives. Hence, the
invention and development of a new type or a new
skill necessitated the stealing of secrets through
persistent attempts.

Fireworks in Prayer for Victory in War Launched
Daily

The peace enjoyed by these craftsmen did not
last long. Japan was treading the path toward war.
and the craftsmen were forced to use their skills to
aid the war effort.

The outbreak of the Pacific War suspended
fireworks altogether. Virtually all of the fireworks
plants were either closed or operated as
subcontractors for military equipment. The world-
class technology had to yield to the forces that
dominated society. and the industry entered a blank
period. This vacuum coincides with the darkest
times suffered by the Japanese people.

Postwar Recovery

After the long war had finally ended in August
1945, the craftsmen who had been drafted into
military service returned home.

Nevertheless, it was not a time to seek pleasure
in fireworks; there was a basic need to be satisfied--
hunger. People all around the country suffered from
food shortages. and every day saw a struggle simply
to survlve.

After the war. the occupation forces (GHQ)
issued a decree forbidding the use of all firearms
and swords. as well as explosives. including
fireworks.

The Americans at GHQ were not able to
understand that fireworks were a symbol of peace
after years of suffering during the war and were
entirely different from weapons. The misunder-
standing arose from the fundamental difference in
character between Americans and Japanese.
However, an unexpected chance came in May 3,
1947, when a fireworks display was to take place in
the plaza in front of the Imperial Palace to
commemorate the proclamation of the new
Japanese constitution. The first such event for a
war-weary people decorated the skies of Tokyo, still
shattered and in ruins, and represented a pivotal
date in the history of fireworks

Continued persuasion of the GHQ to allow the
holding of such exhibitions led finally to approval in
1948. On August 1 . the people were able to confirm
for the first time in a long while the resurrection of a
peaceful Japan near the Ryogoku Bridge on the
Sumida River.

On September 18 of the same year. there was
even a national fireworks competition in the Hama-
cho district to test the skills of individual craftsmen.
The time had arrived for craftsmen to concentrate
once again on displaying their skills. Later, despite
suspensions caused by pollution, the population
explosion and the deterioration of traffic conditions
accompanying the nation's economic growth,
fireworks were revived and are now attracting large
crowds every year. as well as a solid reputation
nationwide.

Of the competitions for craftsmen in Japan, the
most traditional are the Starmine Concours in Ise
City, Mie Prefecture. the Large and Consecutive
Fireworks Contest in Tsuchiura City, Ibaragi
Prefecture. and the Original Fireworks Contest in
Omagari City, Akita Prefecture.

These competitions have provided craftsmen
with a chance to test a wide range of colors and
shapes and the use of modern types of fireworks.

New technologies are being adapted for brighter
color and more impressive form--and at the same
time greater safety. These master craftsmen must
constantly take these two requirements into
simultaneous consideration.

How Sl<yrocl<et Fireworl<s
are Made

A fireworks manufacturing factory has a
distinctive atmosphere

Many are located far away from populated areas.
A number of small, concrete structures are
scattered at random across a large tract of land.
Three--no more than five--craftsmen work in one
workshop. An unsuspecting person would not know
that this was where fireworks are made or even that
it was a factory. Firework factories are built so as to
keep damage to a minimum in case of an accident.

This invention that paints the night skies with
spectacular beauty can at the same time be
exceedingly dangerous, and thus the utmost
caution is taken to prevent fires

All workers, including the craftsmen. wear
cotton clothing. since synthetic material may create
static and easily cause a fire. For the same reason,
footwear is restricted to rubber-soled shoes. When
entering the "Danger Work Room'' where ex-
plosives are handled. a static discharger located at
the entrance is used to remove static electricity.

Such meticulous caution and a great deal of
effort help to create the world-renowned Japanese
fireworks.

The Making of Fireworl<s

The firework manufacturing process is basically
the same as in the past. This is due to the early
establishment of a sophlsticated technology and
also to the difficulty of mechanizing such
dangerous work. Most of the balls are made
meticulously by hand. requiring a level of diligence
at the factory that is hard to associate with the
spectacular and fleeting beauty that lights up the
sky

1. Mixing

Production begins with the mixing of chemicals.
Foreign matter is removed from oxides and other
flammable materials by sifting them with a sieve.
The ingredients are measured in an exact ratio and
later mixed. The proportion of the chemicals and
various metal powders determines the light sound
and color.

Although fireworks craftsmen used to make the
powders themselves. today they are made by
chemical manufacturers. The mixing process still
remains a delicate task which cannot be left to

machlnes.

The chemical mixture produced is called waza/.
The larger the number of waza/ types. the greater
the variety of effects becomes.

2. Making of Explosion Catalysts

The explosion catalyst cracks the ball in the air.
Because the explosion catalyst possesses destruc-
tive power comparable to other explosives, the
process requires the experienced hand of a skilled
craftsman. Glue. (eg rice granules) is added to a
mixture which includes potassium perchlorate and
water, and is mixed into pasteform and dried on rice
hulls.

3. Star-Making

The success of fireworks is determined by the
"stars" Hence, the craftsmen pay as much if not
more attention to the making of the balls. astheydo
to the other stages of production.

Although there are various methods of making
stars. the most common is the repeated application
of layers of waza/ on to a small core to form a large
spherical shape. Waza/ is also mixed with water and
glue. The mixture is applied to the core and dried
repeatedly. The layering of waza/ of different mix
ratios creates changes in color and light. Due to the
necessity for drying. a considerable amount of time
is needed to complete the work

In addition to the finish. each star must also be
uniform in size. This makes possible the simul-
taneous change of color of the flower and
instantaneous disappearance which are part of the
spectacle. The hardest aspect of the task is to keep
the size even with each application of waza/.

While this task was done manually by rolling on a
tub, today's mechanization has reduced the
physical labor involved Certain special fireworks,
however. still need to be made by hand

Plant seeds or sand grains are usually used for
the core; occasionally waza/ is molded into a 5mm.
cube as a "cut star." In the West. the production of
this cut star is the end of the task butJapan's unique
and refined technology starts here by applying
more to this star for colorful changes in the sky.

4. Sphere, Skin and Fuse

The container for the firework is called the
sphere skin It is a wooden spherical mold pasted
with paper and cut into halves. One of the two is
connected to the fuse. which works as a time switch
calculated to explode when the ball reaches its
maximum height.

5. Packing

After all the components are ready, the
assembly--or packing--starts.

For a crack-shell type. stars are lined along the
inside of the sphere neatly and tightly. A thin piece
of Japanese paper is attached as lining and filled
with waza/. or the explosion catalyst. The mold is
lightly pressed with a board to level the mixture. The
two hemispheres arethenquicklybroughttogether,
tapped lightly so that they mix, and then sealed with
glue and sturdy paper.

However, this method is used only up to the No.
5 size sphere; larger spheres require a complex
method called the ten~o-zume.
6. Sealing

The finishing stage is the sealing. Traditionally,
Japanese paper was used. but this has now been
replaced by craft paper Two sheets of craft paper
are pasted together with glue which softens after
some time. This is then cut into strips
corresponding to the size of the ball and applied to
the ball to form four equidistant bands. A uniform
explosion is necessary for an even scattering into a
pearl-shaped flower.

The paper is applied and dried repeatedly in a
slow process. Another important task is the rolling
with a wooden board to squeeze out air from
between the sheets and for better sealing. The more
care put into rolling the firework and the more effort
put into its creation. the more reliable it will be

Such is the process of making a crack-shell ball.
The poka-mono has a thin skin and is designed to
split into two by an explosion along the seal.

The entire process at the factory ends here, but
this is not the final phase. It reaches its culmination
with the flowering of the firework in the sky and its
disappearance in front of the spectators.

The Scenic Firework

Mechanisms

Scenlc fireworks come in a variety of forms and
shapes. The representative form is the ''frame''
firework. which portrays characters and scenery on
a large frame built with logs

This is prepared by making lances--cylindrical
shapes with a 1 Ocm. Iength similar to a pencil. filled
with catalysts of red, green, yellow and blue. A
latticed wooden frame is built. to which a board of
split bamboo orthin sticks is attached. The design of
characters or pictures is then etched on the board
with nails. Lances are then placed at uniform 1 Ocm
distances The lances are then linked with quick-
ignition fuses attached to their heads.

Ordinarily, one frame is 2m square in size, and
has one character written on it. Such frames are
installed according to the design at the site of the
firework display. each being linked with a quick-
ignition fuse. When one is lit, each lance is ignited,
creating characters and pictures in the dark
nstantaneously.
The lances burn for approximately one minute.

Immediately before the firework dies down, a
skyrocket is launched to distract the spectators'
attentlon.

If it rains before ignition. the entire firework is
rulned, to the dismay of the people who created it.
This is part of the luck of the game as far as a
firework craftsman is concerned.

Mt. Fuji and Niagara Falls

Similar fireworks include the harlmono shlkake
which are scenic displays representing Mt. Fuji and
Niagara Falls, and emerge in silver-white in the
darkness Paper cyllnders measuring 1 5mm in
thickness and 25mm in length are filled with
catalysts containing aluminum powder and hung
from a rope at roughly 50cm intervals These are
ignited in a fashion similar to the lances.

Logs are placed at 10 meter intervals on the
firework site and are attached to each other by
ropes. The length can be adjusted to the space
available If longer than 100 meters, ignition must
be made simultaneously at several locations for

The Starmine

instantaneous glow

The sudden appearance of a silver white
cascade illuminating the surroundings is a majestic
S Ig ht .

For Mt. Fuji, the ends of the rope (to which
lances are attached) are lowered from the top of the
bridge in the shape of the mountain. The materials
are the same as those for Niagara Falls.

A typical consecutive skyrocketfirework is called
the Starmine The skyrockets used are filled with
balls of different sizes. as well as multi-colored stars
and small flower rings From tens to hundreds of
fireworks are prepared and secured tightly for
lighting with a quick-ignition fuse. The ignition
shoots the balls into the air. and at the same time
creates a decorative core of fire. As the fireworks
blossom in the sky the colors and the sounds of
varying amplification are coordinated. Differing
from single fireworks, the Starmine creates an
overall effect of great beauty

The Starmine is considered the most expensive
and the most grandiose type of firework The color
and noise of the fireworks bursting out from several
hundred cylinders one after another is the highlight
of any fireworks festival.

The assembly of the Starmine is ordinarily done
at the factory. though the work may be done on site
for small-scale events or when involving special
work. The procedure is generally as follows:

Preparation of the Cylinders

The assembly of the cylinders can be done either
by linking five or six cylinders in a wooden frame or
by welding or screwing several metal cylinders onto
a steel sheet Being light and easy to transport,
paper cylinders are used in the majority of events.
but are disposed of after being used 10 times or
when irregularities are found. Steel cylinders are
checked after use and after being thoroughly
washed to see if there is any rust on the joints or
welding or if any surfaces are uneven. Aluminum
has also recently been used for the cylinders.

Ignition

There are two methods of ignition--from the
lower ignition point and from the top point Both
have their advantages and disadvantages. The
lower point ignition saves material such as fuses.
but is susceptible to humidity. The top point ignition
method reduces the possibility of such ignition
failure but involves a higher rate of accidents, such
as damage to the cylinders.

Explosives for Launching and Installation of the
Fuse

The explosive for launching is put into a
polyethylene bag and attached to a quick-ignition
fuse. finally being wrapped tightly with a string. The
length of time to ignition can be adjusted by the
length of the fuse, thus coordinating the timing of a
launch. Conversely. simultaneous ignition requires
bundling of the fuse ends together with adhesive
ta pe

Preparation of the Fireworks

The launch explosives are placed into the
cylinders attached to the frame. After completion of
this step. each cylinder is checked for errors, such
as the absence of the explosive or the presence of
two bags in one cylinder. They are filled with
spherical rockets, which are checked in advance for
disfiguration. absorption of humidity. and loose
fuses. The contents of the cylinders are pressed in
with cardboard paper. and the cylinders covered
with lids.

Ordinarily, two 3-inch or smaller spheres can be
placed in a paper cylinder, but it can hold only one
large sphere. For steel cylinders. the limit is two 4-
inch spheres.

When several hundred cylinders of this type are
launched in a large-scale Starmine show. one can
fully agree that its nicl<name. Sokusha Renpatsu
(Fast & Continuous Shots). is a fitting description.


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