The Same Setouchi, Three Divergent Decisions

In the summer of 2024, the landscape surrounding fireworks in the Setouchi region was not uniform. In Kure City, the summer “Kure Maritime Fireworks Festival” was canceled, shifting to an alternative event in the autumn. In Onomichi City, the “Sumiyoshi Fireworks Festival,” which has been held since the Edo period, launched approximately 13,000 shells, once again illuminating the night over the strait. Meanwhile, in the Kishiura district of Kure City, a new fireworks festival was initiated to commemorate the 110th anniversary of the town’s establishment—organized by a local company.

Cancellation, continuation, and new establishment. It is somewhat rare for decisions regarding fireworks festivals to diverge so significantly along the same Setouchi coastline. However, to dismiss these differences as mere “variations in enthusiasm” would be overly simplistic. Behind each of the three decisions lies a distinct financial structure, decision-making circuit, and answer to the question of “who ultimately bears responsibility.” Holding a festival means, in essence, operating a mechanism.

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Kure—The Decision to Let Go of Summer and Bet on Autumn

The Kure Maritime Fireworks Festival has been a representative event of Kure City, held every summer in Kure Port. However, in recent years, the environment surrounding its operation has become increasingly challenging.

First, there is the issue of financial resources. The cost of holding the fireworks festival reaches several tens of millions of yen when including not just the launch costs but also surrounding expenses such as security, traffic regulation, cleanup, and the setup of temporary piers. Since the COVID-19 pandemic, many sponsoring companies have withdrawn or downsized, making it impossible to maintain the financial balance under the traditional framework. Additionally, the administrative budget has been increasingly prioritized for infrastructure maintenance and welfare-related expenses, often leaving event costs on the back burner.

Another issue is the operational structure. The secretariat responsible for the practical aspects of the fireworks festival has been overly reliant on specific individuals, and concerns have been raised about the aging of key personnel and stagnation in succession. “It’s not that there are no longer people who want to do it; there are just fewer who know how to do it”—this statement from stakeholders succinctly captures the situation.

In response, Kure City decided to form a new executive committee and hold an alternative fireworks festival between late November and mid-December instead of the summer event. The committee will include experts, local businesses, and government officials, aiming to shift from the traditional “government-led + sponsorship-dependent” model to a collaborative public-private planning and management approach.

What is noteworthy is that this decision is not merely a “postponement” but an attempt to restructure the operational framework itself. There may be mixed opinions about moving a summer tradition to autumn. However, taking a moment to pause and redesign the structure, rather than continuing to hold the summer event out of inertia while the framework is broken—this decision requires a certain level of resolve. Whether the autumn fireworks will be successful could become a pivotal point influencing the shape of Kure’s festivals in the years to come.

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Onomichi—The Mechanism Established Since Edo Continues to Function This Year

The Sumiyoshi Fireworks Festival in Onomichi has been held as part of the summer festival of Sumiyoshi Shrine since the mid-Edo period. With approximately 13,000 launches, it is one of the largest in Hiroshima Prefecture. Fireworks can be seen up close from the opposite shore of Mukai Island, across the narrow Onomichi Strait. The number of spectators is said to reach around 300,000 each year, making it a pillar supporting Onomichi’s summer economy.

So, why is Onomichi able to continue?

One reason lies in the multi-layered structure of its financial resources. The operating costs of the Sumiyoshi Fireworks Festival are supported by sponsorship from local businesses, donations from shopping districts and neighborhood associations, government subsidies, and income from paid seating—all of which mutually support each other across multiple layers. This structure, which does not overly depend on a single large sponsor, provides resilience against external shocks like the COVID-19 pandemic.

Another reason is the network of stakeholders. The preparations for the fireworks festival are divided among the Chamber of Commerce, fisheries cooperative, fire brigade, local youth groups, and volunteer organizations. Each role is clearly defined, and the annual handover functions as a mechanism. “Even if one person drops out, it still runs”—this is not as simple as it sounds. It is only possible because there is a system in place that prevents roles from becoming overly personalized and preserves organizational memory.

The Sumiyoshi Fireworks Festival does not continue merely because it is a tradition. It persists because the mechanisms supporting that tradition are updated little by little each year. This distinction is significant. When local residents express a desire for the festival to continue, there is likely a sense that they are also involved in some way.

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Kishiura—When a Company Decides to “Do It,” a Festival is Born

The fireworks festival held in the Kishiura district of Kure City to commemorate the 110th anniversary of the town’s establishment is the smallest and newest among the three cases. Moreover, it has the most distinct structure.

This fireworks festival was planned and executed by the local company “Light Garage Joy.” It is neither government-led nor organized through an executive committee. Instead, a single company decided to “launch fireworks for the community” and brought it to fruition using its own funds and connections.

Kishiura has a history of having once been an independent town with its own governance. Celebrating 110 years since the establishment of its town system in 1902, the fact that this milestone is being celebrated by the private sector rather than the government is thought-provoking. A local company rooted in the community takes on the commemorative project that has become difficult for the government to manage. This is both a heartwarming story and a reflection of the changing reality of who bears the responsibility for public festivals.

Despite being the inaugural event, many residents gathered on the day. Even though the scale of the fireworks was not large, the feeling of “fireworks for our town” warmed the atmosphere of the venue. It is not the scale but rather who is launching the fireworks and why that determines the temperature of the festival. The Kishiura fireworks quietly demonstrated this.

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The Three Decisions Reflect the Question of “How to Sustain Festivals”

Kure, Onomichi, Kishiura. When lined up, the three fireworks festivals reveal elements that influence the sustainability of festivals.

Financial Structure—Whether to rely on a single large sponsor or to have a multi-layered funding source. The difficulties faced by Kure and the stability of Onomichi largely stem from this difference.

Decision-Making Entity—Is it the government, an executive committee, a company, or the residents? Who ultimately decides to “do it”? The clearer this circuit is, the quicker the decisions are made and the more apparent the responsibility becomes. The Kishiura case showed us how a festival can emerge when the decision-making entity shifts to a company.

Succession Mechanism—A festival is not a one-time event but a recurring activity every year. How to pass on knowledge, connections, and memories of arrangements to the next year. The core reason for Onomichi’s longevity lies here.

And another perspective that should not be overlooked is, “Who are we making it easier for?” Fireworks festivals are meant to entertain spectators, but at the same time, they support the sales of local shops and accommodations, provide young generations with a “reason to engage with this town,” and offer seniors a seasonal marker. The effects of festivals extend beyond the fireworks lit in the night sky, spreading in more subtle forms.

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Points of Interest Moving Forward

How will Kure’s autumn fireworks festival take shape under the new executive committee? Will it end as a one-off alternative event, or will it connect to a turning point in the operational structure in the years to come? This is the primary focus.

Onomichi will face the question of how long the current structure can continue to function. The generational transition of stakeholders, rising material and security costs, and changes in tourist dynamics. The more stable a structure appears, the easier it is to overlook signs of change.

Will Kishiura’s initiative continue into next year? The fireworks that were realized because of the milestone of the 110th anniversary—how will the community find reasons to continue them beyond the 111th year? There are limits to a structure that continues to rely on the goodwill of companies. Will the moment come when it transforms into a mechanism?

The three fireworks festivals stand before the same question, each facing different challenges. Continuing a festival does not mean merely launching fireworks. It means reconstructing the mechanisms that allow fireworks to be launched every year.

In that humble work lies the true heat of the festival.