Japanese rokyoku: the traditional Naniwa-bushi narrative song
From the world of Japanese rōkyoku—also known as Naniwabushi—here are classic masterpieces recommended by our studio staff.
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Japanese rōkyoku: the traditional Naniwabushi (11–20)
The Tale of Tenpō Suikoden: Hirate's Dash to the RescueFukutaro Tamagawa II
In 1968, he became a disciple of the third-generation Tamagawa Kōtarō.
In 1974, he assumed the stage name of the second-generation Fukutarō.
He won popularity with a dynamic performance style that made use of his stern, ogre-like features.
Just three years after drawing attention with a five-month consecutive run of Tenpō Suikoden in 2004, he passed away, leaving rōkyoku fans in mourning.
Raiden Odawara SumoShodai Kyoyama Koediwaka
Born in 1926.
In 1941, he took the name the first Kiyoyama Koedewaka.
Known for his beautiful voice, he worked to popularize naniwa-bushi/rokyoku, drawing attention with joint performances alongside entertainers from other genres.
His specialties included sumo-themed pieces such as “Odawara Sumo” and topical, news-based rokyoku.
stowaway to the United KingdomHirozawa Hyōuemon
Born in 1897.
Partly due to his naturally poor voice, he didn’t find success for a long time, but around 1980 he launched Kao Meijin Gekijo and came into the media spotlight, becoming a star after turning 80.
This “Stowing Away to Britain” is Hyōemon’s representative work.
He died in 1990 at the age of 92.
Heisei Women's AffairsKeiko Haruno
After appearing on ‘Susume! Denpa Shōnen’ as the home tutor Ms.
Keiko, she entered the world of rōkyoku (traditional narrative singing).
She studied under the leading master Yuriko Haruno and made her debut in 2006, emerging as a promising performer energetically active nationwide from her base in the Kansai region.
This ‘Heisei Women’s Affairs’ is a new rōkyoku piece written by Akane Kumazawa.
Golden FlowerEast Musashi
Danshi Tatekawa introduced him in his book as his “favorite naniwabushi storyteller.” It may be because they share similarities: his crisp, spirited delivery; his quick-witted knack for weaving that day’s newspaper articles into his performance; and his highly original melodic phrasing.
Bunzaemon of Kii no Kuni (Kinokuniya Bunzaemon)Umechūken Ōdō
Born in 1902.
His piece “Kinokuniya Bunzaemon,” which became a major hit on prewar SP records, remained his signature work throughout his life.
Unlike many storytellers of the time who used a chesty, gravelly voice, his lack of such a tone became a distinctive trait, and among rokyoku fans his style was known as the “Ugudo-bushi.”
Japanese rokyoku: the traditional Naniwabushi (21–30)
Jingorō’s CrabKikuharu Hirosawa II
Born in 1914.
The first Kiku Haru Hirosawa’s biological child, and Saburo Tenryu is his younger brother.
In naniwabushi (rokyoku), there are many pieces featuring the master craftsman Hidari Jingorō, but this “Jingorō’s Crab” is a comical, rakugo-style work; in fact, it has even been adapted into rakugo under the title “The Crab Beating” (Tataki-gani).