Harumi Miyako - Female Singer Who Breathed New Life into Enka, 1960s-1970s

Harumi Miyako - Female Singer Who Breathed New Life into Enka, 1960s-1970s

Harumi Miyako was born in Kyoto in 1946 and made her debut in 1964 with "Anko Tsubaki wa Koi no Hana (Anko Camellia is a Flower of Love). She emerged in the midst of a period of rapid economic growth, and her powerful fist and voice full of sorrowful sentiment resonated with many ordinary people amid the increasing concentration of population in urban areas and the transformation of farming and fishing villages. During this period, the expansion of urban life and the shift to the nuclear family led to a growing nostalgia for hometowns and human feelings, and Miyako's songs represented exactly these sentiments.

Her debut song, "Anko Tsubaki wa Koi no Hana (Anko Camellia is a Flower of Love)," set in a fishing village, depicted the sadness of a woman thinking of her distant lover, and was an instant hit. It redefined the image of women in enka and popularized a passionate singing style. Since then, she has continued to deliver timeless classics such as "Sukiyoshita hito" and "Kita no yado kara" (From the inn in the north). Kita no Yado Kara" was a big hit in the 1950s and left an immortal mark on the history of enka in the postwar period, as she carefully sang about the emotions of a woman torn between the city and her hometown.

She is often compared to her contemporary Hibari Misora. While Hibari boasted an overwhelming presence as a national diva, Harumi Miyako gained support for her more folksy and passionate style. She also established her position with her unique "Tears and Passion" singing style, and presented a new model for female enka singers, even amidst the emergence of next-generation enka singers such as Masako Mori.

In the late Showa period (1926-1989), when society became more affluent due to economic growth, but at the same time, human relationships were becoming increasingly fragile, Harumi Miyako's voice reminded people of the warmth of human feelings and bonds. As the standard-bearer of postwar female enka, she remained close to the hearts of the Japanese people.