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Fire eating trick
Brian Brushwood performing fire eating tricks.
A fire eating trick performed at a bar in New York City
A set of simple cast iron fire eating torches
Video of fire eating.

Fire eating (a.k.a. pyrophagia) is the act of putting a flaming object into the mouth and extinguishing it. A fire eater can be an entertainer, a street performer, part of a sideshow or a circus act but has also been part of spiritual tradition in India.

Physics and hazards

[edit]

Fire eating relies on the quick extinguishing of the fire in the mouth or on the touched surfaces and on the short term cooling effects of water evaporation at the surface on the source of fire (usually with a low percentage of alcohol mixed in the water) or saliva in the mouth. This allows for igniting a damp handkerchief or a bill of money without it burning. Closing the mouth, or covering it with a slap of the hand cuts off the oxygen to the fire. Blowing on it can remove the very thin area of reaction from the source of fuel, and thus extinguish the fire in some cases, where the blown air is faster than the fire front and the flame is small enough to be entirely removed.[1][2]

Contrary to what many may assume, the flame itself is not a cold flame. This can be proven by a number of things. For starters, a cold flame can only be visible in total darkness, but many flame eating tricks happen in the light. Also, a cold flame is a chemical flame that can't be formed using a traditional torch. Certain materials are avoided when doing the trick, such as materials which may easily ignite, melt or store the heat and release it later.[3] These include paraffin candles, plastic, and thick multithreaded rope.[4]

According to Daniel Mannix's 1951 sideshow memoir Step right up!, the real "secret" to fire eating is enduring pain; he mentions that tolerating constant blisters on your tongue, lips and throat is also necessary. Many other fire eaters dismiss this, claiming that skilled fire eaters should not burn themselves. The most common method of safely performing fire eating acts relies on the fact that it takes time to transfer heat, and that heat rises in air. Fire eating and fire breathing (and all variants) is a skill which should be passed on from a skilled master to an appropriate student[4] and almost all teachings include instructions on first aid, fire safety, chemistry and other appropriate skills.[4][5][6] Accidental ingestion of fuel or improper technique can lead to a serious condition known as fire eater's pneumonia.[7]

Even professional eating artists still face slight injuries every time they perform the trick. If all goes well in the trick, the artist will still end up getting slightly poisoned by their fuel, developing small blisters within their mouth, and constantly having awful headaches from the fuel.[8] It has also been found to be dangerous to inhale hydrocarbons from flames because they can cause many of the issues listed above.[9] Dealing with these issues is also explained in depth by a video on homeofpopoi.com.[10] It should certainly be made apparent that fire eating can also cause long term health effects especially if done incorrectly.[11][12]

History

[edit]

Fire eating was a common part of Hindu, Sadhu, and Fakir performances to show spiritual attainment. It became a part of the standard sideshow acts in the late 1880s and was often seen as one of the entry-level skills for sideshow performers.[13]

Although not the earliest, the first to attract the attention of the upper classes was an Englishman named Richardson, who first performed in France in 1667. Richardson "munched glowing coals, drank flaming liquids, and otherwise appeared to prove that he was unharmed by fire".[14]: 209  His methods were subsequently made public by his servant.[15]

A famous fire eater from the 18th century was Robert Powell who allegedly not only swallowed fire but also red-hot coals, melted sealing wax and even brimstone. He performed, often in front of British and other European royalty and nobility, for nearly sixty years and, in 1751, was awarded a purse of gold and a large silver medal.[16] Other fire eaters include the magicians Ching Ling Foo and Daniel P. Mannix.[14]: 213–214 

Guinness World Records

[edit]

The most torches extinguished in one minute with the mouth (using multiple rods) is 99 and was achieved by Bret Pasek (U.S.) at the Minnesota Renaissance Festival in Shakopee, Minnesota, on 7 September 2014.[17]

In 2018, this record was later beaten by a man named Brant Matthews who extinguished 101 torches in the same minute time frame.[18]

See also

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References

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Further reading

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Fire eating

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from Grokipedia
Fire eating is a form in which a practitioner inserts a flaming object, such as a or , into their mouth to extinguish the flame without burning the soft tissues, relying on principles of , breath control, and preparatory substances to minimize injury. The practice traces its roots to ancient rituals, with records of fire manipulation appearing as early as circa 135 BCE, when a Syrian slave named reportedly used a burning nutshell to exhale flames and sparks during a . By the , fire eating had evolved into public spectacles at European fairs, where performers like those described in 1667 accounts crushed burning coals and pitch between their teeth. It gained prominence in the as a staple of circus sideshows and , popularized by various performers in and America. documented its history in his 1920 book Miracle Mongers and Their Methods, highlighting how it transitioned from mystical displays to structured entertainment, often combined with acts like . Techniques for fire eating emphasize safety through preparation and physics: performers often coat their mouths with protective mixtures like liquid storax or a solution of , , and carbolic acid to insulate against , while ensuring flames are directed outward to avoid , which can cause fatal damage. Common methods include using soft, quick-burning fuels like coals or alcohol-soaked on metal wicks, extinguishing them via oxygen deprivation in the sealed rather than direct contact. Despite these precautions, the remains highly dangerous, with burns and chemical risks necessitating professional training, fire-resistant gear, and on-site extinguishers; Houdini warned that novices must endure initial injuries to build tolerance. Today, fire eating persists in circus revivals, performances, and festivals, underscoring its enduring appeal as a blend of skill, spectacle, and peril.

Introduction and Fundamentals

Definition and Overview

Fire eating, also known as pyrophagia—a term derived from the Greek words pyr () and phagein (to eat)—is the of placing a flaming object into the and extinguishing the without sustaining . This act relies on controlled manipulation of the , often creating a dramatic visual effect for audiences. Unlike fire breathing, which involves expelling a mist of through an existing to produce a large burst of , fire eating focuses on direct contact and internal extinguishment within the performer's . The practice primarily occurs in entertainment settings, such as circuses, street performances, and sideshows, where performers captivate audiences with displays of apparent defiance against fire's dangers. It has also appeared in spiritual rituals in various cultures, including among Hindu fakirs and Sadhus in to demonstrate spiritual attainment. These contexts highlight fire eating's dual role as both spectacle and symbolic act. Typical tools for fire eating include flaming torches, which consist of metal rods wrapped with wicks made from non-asbestos materials like or cord, soaked in combustible fuels. Common fuels are paraffin lamp (kerosene-based) for its clean burn and low residue, or Coleman camp fuel (), selected for their relatively safe vapor properties when used properly. The extinguishment process briefly deprives the of oxygen, a basic physical that underscores the skill involved.

Basic Principles

Fire eating relies on carefully selected fuels that balance ignitability, burn quality, and safety. Low-flash-point fuels such as white gas (also known as Coleman camp fuel) or are preferred for their clean-burning characteristics, producing a bright with minimal and residue, which reduces risks during performance. These fuels have flash points below 0°F (-18°C), enabling quick ignition from a small spark while evaporating rapidly to limit prolonged exposure in the . In contrast, highly volatile fuels like are strictly avoided due to their extremely low flash points (around -48°F or -44°C) and high , which can lead to sudden, uncontrollable flares or explosions upon contact with ignition sources. Torches used in fire eating are simple yet robust tools designed for precise control. They typically consist of a wick secured to a metal rod, often made of or aluminum for durability and heat resistance, with lengths ranging from 12 to 18 inches to allow comfortable handling without excessive reach. The wick, usually 1 inch in diameter for beginners, is wrapped or sewn onto the rod's end to ensure even fuel absorption and a consistent size, preventing drips or uneven burning that could compromise . This construction facilitates easy and manipulation, with the metal core providing structural integrity while the or alternative wicking material (like in modern variants) holds the effectively. Preparatory steps are crucial to establish a controlled environment and physiological readiness. The is hydrated with immediately before inserting the , creating a moist barrier that aids in rapid through evaporative cooling; some performers apply a thin layer of to the lips for added protection against minor . Breath control techniques focus on minimizing oxygen availability around the to facilitate extinguishment, such as exhaling fully prior to contact to reduce fuel-oxygen interaction. Environmental factors must also be managed, with performances conducted in windless conditions to avoid displacement or vapor drift that could ignite unintended areas. One foundational principle involves the strategic removal of oxygen to douse the , a method detailed further in the physics of fire eating. Before attempting fire eating, individuals must master prerequisite skills in , such as basic with unlit torches or similar props, to ensure instinctive, error-free handling under pressure. This foundation prevents drops or fumbles that could scatter burning , emphasizing coordination and spatial awareness honed through non-fire practice. Additionally, general gear like fire-resistant is recommended to protect against incidental sparks, as outlined in dedicated training protocols.

Science and Safety

Physics of Fire Eating

Fire eating operates on the principles of the triangle, which posits that sustained burning requires three essential elements: , , and oxygen. The in this context is a combustible liquid, such as paraffin-based lamp oil, absorbed into a wick material like or , providing the carbon and necessary for oxidation. initiates and maintains the reaction through an external ignition source, raising the to produce a visible . Oxygen, drawn from the surrounding air, acts as the oxidizer to facilitate the exothermic . Upon insertion into the mouth, the performer seals their lips around the wick, creating an enclosed space with limited oxygen availability; this deprivation starves the flame of one critical component, causing it to extinguish almost immediately and preventing continued . Saliva serves as a vital thermodynamic buffer during this process, leveraging the high in the oral cavity to absorb and dissipate from the smoldering wick. The specific of water, approximately 4.18 J/g°C, enables saliva to uptake substantial —requiring 4.18 joules to raise the of one gram by 1°C—without itself reaching temperatures. This cooling effect rapidly lowers the wick's below the of typical fire-eating fuels, around 210–250°C, thereby inhibiting re-ignition once the flame is out. Furthermore, the partial of saliva enhances this cooling through the absorption of , as water transitions from liquid to vapor, drawing additional energy from the wick and surrounding tissues. The physical properties of the are engineered for safety and predictability in performance contexts. Lamp oil, commonly used due to its paraffin composition, exhibits a of 60-70°C—the minimum at which it emits sufficient vapor to ignite momentarily—and a low , which limits the rate of and formation of flammable mixtures at ambient conditions. These characteristics permit a stable, low-intensity burn on the wick without spontaneous vapor ignition or explosive behavior, even in the of the mouth, as the requires sustained to volatilize adequately. Although the primary mechanism during wick insertion is conduction—the direct molecular transfer of from the hot wick to the performer's and —this is mitigated by procedural precision. Performers minimize conductive heat flow by swiftly placing and removing the wick, restricting contact duration to mere seconds and thereby limiting the total energy transferred, which follows Fourier's law where is proportional to the and inversely to contact time. This rapid motion ensures that tissue temperatures remain below the threshold for burns, typically around 44-50°C for prolonged exposure.

Hazards and Health Risks

Fire eating poses significant acute risks, primarily thermal burns to the mouth, lips, and potentially the esophagus resulting from contact with hot wicks, fuel spills, or improper extinguishing of flames. In one documented case, a performer experienced severe facial and oral burns after delaying the expulsion of ignited petrol, leading to vapor formation and intensified flames upon expulsion. Flash burns can also occur from the ignition of fuel vapors within the mouth, exacerbated by fuels with low flash points that readily produce ignitable vapors under heat. Such incidents highlight the immediate danger of vapor ignition during performance errors or suboptimal conditions. Chronic health conditions associated with fire eating often stem from the aspiration of burning or liquid hydrocarbons into the lungs, leading to fire eater's , a form of exogenous . This condition arises from accidental of fuels such as paraffin oil or during performances, causing through direct irritation and inflammation of pulmonary tissues. Case reports describe severe cases where aspiration resulted in acute respiratory distress, bilateral infiltrates on imaging, and prolonged recovery requiring hospitalization and supportive care, including and antibiotics for secondary infections. Hydrocarbons like contribute to these risks by inducing lipid-laden macrophages in the alveoli, potentially leading to long-term scarring if repeated exposures occur. Prevention focuses on techniques that avoid , such as proper sealing and breath control. Additional dangers include chemical poisoning from ingested or aspirated fuels, particularly when using high-proof alcohols or contaminated variants like . One reported incident involved a fire eater developing acute bilateral blindness and systemic after consuming -laced intended as fuel. Eye damage may also result from exposure to sparks or thermal flashes from the torch or wick, potentially causing corneal abrasions or irritation, though such cases are less frequently documented in specific to fire eating. Fatalities from fire eating are rare. Injury rates are notably high among novices lacking proper guidance, with medical literature emphasizing the elevated risk of aspiration and burns in untrained individuals, underscoring the activity's inherent dangers without experience.

Safety Protocols and Training

Fire eating demands rigorous safety protocols to mitigate the inherent risks of handling open flames and combustible fuels internally. Performers must prioritize protective equipment and structured training to prevent burns, fuel aspiration, and environmental hazards. Essential safety gear includes fire-resistant clothing made from natural fibers like cotton or wool, which char rather than melt onto the skin, and fitted garments to minimize loose fabric ignition. Gloves constructed from leather or Kevlar provide hand protection during fuel handling, while spotters—trained assistants stationed nearby—carry damp towels or fire blankets for immediate flame suppression on the performer or surroundings. Class B fire extinguishers, such as those using dry chemical or CO2 agents, must be readily accessible for fuel-related fires, avoiding water on liquid blazes to prevent spreading. Venues require non-flammable surroundings, with all combustible materials cleared from a minimum 15-foot radius around the performance area and audience separated by barricades. Training begins with unlit wicks to build and precise mouth positioning, progressing to handling cold fuel for familiarity with and taste before introducing supervised lit practices under experienced instructors. Aspiring performers should complete certified workshops, often lasting 2-6 hours initially, followed by repeated unlit rehearsals—typically three successful runs—prior to any ignited sessions, ensuring competence in emergency responses. Ongoing supervision by a qualified person is mandatory during early lit trials, emphasizing , , and familiarity with the performer's routine to address potential issues like unexpected wind or equipment failure. Pre-performance protocols involve thorough checks of purity using manufacturer specifications to avoid contaminants that could cause internal , alongside verifying integrity such as secure wick attachments and no wear on handles. Performers must confirm and status, with no performance if impaired, and establish a designated refueling zone at least 30 feet from the audience or flames. Post-performance care includes rinsing the with saline solution to clear residual and reduce risks like chemical , followed by inspecting the oral cavity for . Emergency responses prioritize cooling burns with running cool water for 10-20 minutes rather than , which can damage tissue, and seeking immediate medical attention for severe cases while using the stop-drop-and-roll method if clothing ignites. Legal considerations mandate age restrictions, typically 18 years or older for , with some jurisdictions requiring 21, to ensure maturity in . Professional performers need coverage of at least $3 million to protect against third-party injuries, renewed annually and verified by venues or authorities. Public performances require permits from local fire departments, including proof of training, equipment inspections, and compliance with codes like NFPA 160, prohibiting unpermitted displays in open spaces to safeguard public safety.

Techniques

Beginner Techniques

Beginner techniques in fire eating emphasize simple, controlled actions to extinguish flames safely, always under the supervision of an experienced instructor to minimize risks. These methods rely on basic principles such as depriving the flame of oxygen and using for cooling, but novices must prioritize practice with unlit props to build and confidence. The basic insertion technique forms the foundation for entry-level fire eating. To perform it, light a prepared and inhale deeply through the to fill the lungs completely, ensuring no occurs once the flame nears the . Insert fully into the while keeping the head tilted slightly upward to direct heat away from the face, then close the lips firmly around to seal off oxygen supply to the flame. Hold the position for 2-3 seconds until the flame extinguishes due to oxygen deprivation, then remove the carefully. This method requires precise timing to avoid burns, and performers should feel cool via distribution before removal. The lip roll method offers a gentler alternative for novices, focusing on minimal contact to reduce heat exposure. After lighting the , inhale deeply and bring the wick close to the lips without full insertion. Gently roll the wick against the inner surfaces of the lips and cheeks to spread evenly across the burning material, which helps cool and snuff out the flame through moisture and limited oxygen access. This technique demands slow, deliberate movements to maintain control and prevent drips of hot fuel, making it ideal for building lip sensitivity before advancing to deeper insertions. Following extinguishment in either method, the exhale technique clears residual and from the mouth to prevent discomfort or coughing. Once the is out, remove the and perform a controlled, steady exhale through the mouth to expel any lingering vapors or embers, directing the breath downward away from the face. Novices should practice this timing extensively with unlit torches, starting with short holds to synchronize the exhale with torch removal for smooth execution. This step enhances respiratory control and ensures a clean finish to the routine. For beginners, common props are limited to a single short torch to simplify handling and focus on fundamentals. These torches typically feature a 1-inch or wick attached to a 16-17 inch , soaked in a safe like paraffin oil, allowing for easy ignition and quick extinguishment without the complexity of multiples or dynamic movements. Shorter lengths reduce leverage risks and promote stable grips during initial practice sessions.

Advanced Tricks and Flourishes

Advanced often progress to multi-torch eating, where performers sequentially extinguish 3 to 5 lit torches by transferring them hand-to-mouth in rapid succession, demanding exceptional coordination to manage multiple flames without spillage or loss of control. This technique builds on basic insertion methods, allowing for seamless chains of extinguishments that create a mesmerizing cascade effect during performances. One particularly dramatic flourish is "," in which a performer extinguishes a in the and then blows out residual vapor to ignite an unlit held nearby, producing a controlled fireball that travels from the to the target. This vapor-based trick relies on precise breath control and timing to ensure the flame projection is both safe and visually striking, often serving as a climactic moment in routines. Flourishes elevate fire eating into dynamic artistry, such as spinning torches rapidly before insertion to generate that disperses excess fuel and heightens audience anticipation. Body burns, or "fleshing," involve briefly transferring a from the to the performer's —typically the or hand—for a split-second contact that extinguishes via body heat and moisture, showcasing daring precision without prolonged exposure. Integration with adds complexity, where eaters extinguish torches mid-air tosses or combine them with poi spinning and staff twirling to create fluid, multi-element displays that blend with control. Professional guides emphasize building comprehensive routines, such as sequences incorporating up to 24 distinct effects—from vapor bursts to chained multi-torch sequences—to maintain pacing and narrative flow in a performance. Effective audience interaction involves calculated proximity, verbal cues to build tension, and maintaining clear sightlines, all while prioritizing fuel stability to sustain trick reliability without drawing attention to technical aspects.

History and Cultural Aspects

Historical Origins

Fire eating traces its origins to ancient practices among Hindu sadhus and fakirs in , where it served as a demonstration of spiritual mastery and control over the body. These ascetics performed feats such as gulping and expelling flames, inserting flaming torches into their mouths without injury, and walking on red-hot coals, often as part of roadside entertainments or village fairs to symbolize divine connection. One of the earliest recorded instances of fire manipulation dates to 133 BCE, when a Syrian slave named used a burning nutshell to exhale flames during a revolt. Such rituals, rooted in broader ascetic traditions, date back to ancient times and emphasized transcendence of physical limits through devotion. The practice reached Western audiences in the , with the earliest notable performance recorded in 1667 by an Englishman known as Richardson in . Richardson captivated upper-class viewers by consuming glowing coals, melting glass in his mouth, and handling hot irons, marking one of the first documented instances of fire eating as public entertainment in . By the , it gained prominence through performers like , who entertained British nobility for over 60 years, including demonstrations before royalty that earned him recognition from the Royal Society in 1751. Powell's acts, blending endurance with spectacle, helped shift fire eating from exotic curiosity to refined exhibition. In the , fire eating evolved into a staple of American and European circuses and sideshows, particularly by the late , as traveling shows integrated it alongside other marvels for mass audiences. Pioneers like Xavier Chabert toured the in the mid-19th century, performing in ovens and with volatile substances, which popularized the art in vaudeville circuits and dime museums. This era marked the transition from spiritual or mystical roots to commercial entertainment, though it introduced risks; early accidents, including burns from impure fuels, began appearing in reports.

Cultural and Modern Significance

Fire eating embodies profound symbolic meanings in various cultural contexts, often signifying purification, divine connection, and human endurance against elemental forces. In ancient religious rituals from and , the practice represented mastery over as a transformative power, allowing performers to transcend physical limits and achieve spiritual elevation through acts that mimicked consuming the sacred element. These rituals underscored 's role as a conduit to the divine, where ingestion symbolized the internalization of cosmic energy and resilience. Globally, fire eating exhibits diverse variations tied to spiritual and communal traditions. In Indian fakir and performances, it persists as a form, blending Hindu ascetic practices with public displays of mystical prowess, such as fire walking and related feats that affirm faith and devotion during festivals like . Polynesian fire rituals, while primarily focused on dance and manipulation to honor ancestral spirits and mark life transitions, emphasize fire's centrality in cultural identity. In modern times, fire eating has seen a notable revival since the early 2000s, fueled by instructional resources that democratized access to the art. Publications like Brian Brushwood's The Professional's Guide to Fire Eating (2002), with its comprehensive techniques, safety protocols, and historical insights, empowered aspiring performers beyond traditional apprenticeships. Online tutorials further amplified this resurgence, enabling widespread learning and adaptation. Today, it integrates into festivals, burlesque shows, and flow arts scenes, where acts like those at the Firefly Arts Collective's workshops combine fire eating with poi and aerial elements for immersive, community-driven spectacles. Burlesque performers, such as Vancouver's Dare Deville, fuse it with sensual narratives, enhancing its theatrical appeal at events like the Burlesque Festival. Societally, fire eating reflects evolving gender dynamics, shifting from historical male dominance in ritual and circus contexts to greater inclusivity. All-female troupes like The Hive have repurposed it as a feminist emblem since the , using fire eating in performances to symbolize and challenge stereotypes of danger as a masculine domain. In media, it is portrayed in films and circuses as an emblem of daring spectacle, evoking awe and the thrill of human limits, from staples to cinematic depictions of exotic prowess that romanticize its perilous allure.

Notable Performers and Achievements

Famous Fire Eaters

One of the earliest and most renowned fire eaters was , an English performer active in the who toured extensively for nearly six decades, captivating audiences with acts involving swallowing fire, red-hot coals, melted , and brimstone. Born around , Powell performed for British and American , including royalty, and continued his daring routines into old age, notably at 80 years old in Guilford in 1780 as depicted in a watercolor drawing held by the . His longevity and patronage elevated fire eating from street spectacle to aristocratic entertainment, laying foundational appeal for the art's endurance. In the , fire eating gained prominence in American sideshows, where performers popularized the act within circus culture, drawing crowds to traveling exhibitions that blended wonder with risk. These sideshow stars integrated fire eating into broader feats of endurance, contributing to its spread across the as a staple of Victorian-era entertainment. Among modern pioneers, Brian Brushwood stands out for his comprehensive documentation of fire eating techniques in his 2002 book, The Professional's Guide to Fire Eating, which details 24 effects, 8 flourishes, and essential safety protocols including to minimize risks. Through this resource, Brushwood demystified professional methods, making the art more accessible while emphasizing safe practices like proper fuel selection and torch maintenance. His work influenced subsequent performers by standardizing techniques and advocating for informed risk reduction. April Choi has innovated fire eating transfers, notably holding the for the most "" transfers in one minute—30 achieved on November 7, 2022, in —showcasing precise flame manipulation between performers or props. As a engineer and performer, Choi's tutorials since the early , including series like the Fire Eating Tricktionary with over 110 tricks, have expanded accessibility by breaking down complex transfers and vapor effects for global audiences. Her contributions include promoting safe fuel use, such as low-toxicity options, through educational videos that stress health considerations like avoiding hypoxia. Contemporary figures like Brant Matthews, known as the FireGuy, have advanced the art through record-breaking performances and education; he holds the for extinguishing the most torches by fire eating in one minute—101 set on August 10, 2018, in —while offering workshops on , fire eating, and busking to train new performers. Matthews' site and sessions highlight innovations in endurance feats and safe fuel advocacy, drawing from his experience with clients like and . Similarly, Vixen DeVille has promoted inclusivity in fire eating via online kits and workshops since 2019, teaching techniques like body burning, flame transfers, and fire trails to participants of , abilities, shapes, and sizes, with a focus on risk reduction and equipment safety. Her burlesque-integrated approach, as detailed on her platform, fosters broader participation in performance arts, including fire eating, through body-positive training. These performers' legacies include key innovations such as widespread safe advocacy—emphasizing non-toxic, low-flash-point liquids to reduce risks—and the proliferation of tutorials in the , which democratized training and elevated fire eating from niche to inclusive global pursuit.

World Records

Fire eating has produced several official , highlighting the skill and precision required in this . These records focus on categories such as the speed of extinguishing flames, coordinated team efforts, and large-scale group performances, with achievements verified through strict protocols to ensure safety and authenticity. One prominent individual record is for the most torches extinguished by fire eating in one minute, achieved by Brant Matthews () with 101 torches at the Wisconsin State Fair in , , on 10 August 2018. In a variation using two rods, Hirokuni Miyagi, known as (), set the record for the most fire eating extinguishes in one minute at 94, accomplished in , , on 22 2023. For advanced transfer techniques, Choi () holds the record for the most fire eating transfers in one minute, totaling 30, set in , , on 7 November 2022. Team-based records demonstrate collaborative prowess, such as the most alternate fire eating extinguishes in one minute by a team of two, where Laura Sutton, known as Isobel Midnight (), and Noelia Hueso Muñoz, known as Lady Noelia (), achieved 73 extinguishes at The Fire School in , , on 27 January 2019. On a larger scale, the record for the most people fire eating simultaneously stands at 171 participants, organized by the Chilli () during the "Fire Storm Crossing " performance at the Olympics opening ceremony in , , on 15 September 2000. Guinness World Records verifies these feats through a rigorous process, including independent witnesses, video evidence, and adherence to safety guidelines to mitigate risks inherent in fire manipulation. Since the 2018 torch extinguishing record, competition has intensified, with new benchmarks set in 2019, 2022, and 2023 across individual and team categories, reflecting growing interest and innovation in fire eating performances.
Record CategoryHolder(s)AchievementDateLocationSource
Most torches extinguished in one minute10110 August 2018, Guinness World Records
Most extinguishes with two rods in one minute9422 2023, JapanGuinness World Records
Most shoot the moon transfers in one minute307 November 2022, Guinness World Records
Most alternate extinguishes by team of two in one minuteLaura Sutton and Noelia Hueso Muñoz (/Spain)7327 January 2019London, Guinness World Records
Most people fire eating simultaneouslyChilli Club International ()17115 September 2000, Guinness World Records

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  44. https://brantmatthews.com/
  45. https://www.vixendeville.com/courses/online-fire-eating-kit/
  46. https://www.vixendeville.com/classes/fire-eating-workshop/
  47. https://www.vixendeville.com/
  48. https://www.guinnessworldrecords.com/world-records/544102-most-fire-eating-extinguishes-in-one-minute-two-rods
  49. https://www.guinnessworldrecords.com/world-records/543825-most-shoot-the-moon-fire-eating-transfers-in-one-minute
  50. https://www.guinnessworldrecords.com/world-records/556566-most-alternate-fire-eating-extinguishes-in-one-minute-team-of-two
  51. https://www.guinnessworldrecords.com/world-records/most-people-fire-eating
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