Phyl Lobl

OBITUARY

Wendy Lowenstein, 1927–2006 : A Woman of Worth

Wendy Lowenstein, 1927–2006

Folklore is not the only 'f' word that springs to mind at hearing the name Wendy Lowenstein: frank, formidable, fair-minded, feminist and fun come quickly upon the heels of folklore. However if you had to choose one word to associate with Wendy Lowenstein, 'folklore' would be the one.

I first met Wendy Lowenstein (nee Robertson) in Melbourne in about 1963–64. By then she had been heavily involved in left-wing politics, had worked in a battery factory and had some journalistic experience with the Eureka Youth League and with the Radio Times. She was also teaching and raising a family of three – Richard, Martie and Peter – with husband Werner. At this time, I was about ten years younger than Wendy, a primary school teacher, and just starting out as a performer of songs in folk clubs. I hesitate to use the term 'folksinger' as some considered it politically incorrect to call yourself a folksinger unless you had learned your songs at the knees of grandparents or the community collective. As I was mainly singing self-penned songs I had even less right to use that term about myself. Thankfully, Wendy and a large group of others who inhabited the 'folk-world' used a wider definition. These people were also members of Bush Music Clubs and the cafe/pub set of singers and their audiences, and I was welcomed into the fold of those who were enthused about letting the 'voices of the people' be heard.

Wendy was very supportive of anyone who was trying to write meaningful songs and was willing to publish them in Australian Tradition, the offshoot from The Gumsucker's Gazette, both products of the Victorian Folklore Society which she helped to found. Australian Tradition was a journal of national importance; it included songs, poems and articles covering history and grassroots culture, and helped to keep alive awareness of the value of such material. Wendy collaborated with Shirley Andrews, who led the revival of bush dancing, to produce each issue.

It was on the train trip from Melbourne to Sydney during one school holidays that I came to know Wendy better. I had rarely met a woman like her before. She was loud of voice, strong of opinion, suffered no fools, was devoid of false modesty and incapable of embarrassment – enviable qualities for a warrior. Although the journey to Sydney was long, time seemed to pass quickly as Wendy had plenty to say on a wide variety of topics and I wasn't short of opinions myself. On that trip I met Chris Kempster, Denis Kevans and several other people who also sang or recited similar material to mine. More importantly I became aware of the camaraderie that existed along the eastern seaboard through the associations these people had built, many through participation in activities of the Eureka Youth League and the Communist Party. This core of 'Australian socialist comrades', including Wendy, later became disillusioned with the negative regimes that overtook Communist countries, but not with their own convictions of socialist values. They turned their considerable energies and goodwill to unearthing, maintaining and developing our grassroots culture. For this we should be forever grateful.

I had never met Communists before and having got used to the idea that they didn't have two heads or carry sickles and definitely not guns, I found a group of people whose 'values' were very similar to mine: social justice, commitment to peace, the courage to back conviction with action and an awareness of the solace, synergy and power of song. Mine had developed independently, with input from Charles Wesley's hymns (once you removed overtly Christian terminology), but they lacked a bed of historical knowledge in which to flourish. My association with Wendy and her work and the people I met through her helped me build such a base and had an important influence on my life. It provided direction for my writing and other creative energies and before long led to meeting my life-partner, Geri Lobl. Geri had known Wendy and her husband Werner for a long time. Werner had been one of the 'Dunera boys' and Geri's family had fled Austria with the rise of Hitler, so there were common understandings between them.

Wendy, Geri and I were part of the organising committee for the first Port Phillip Folk Festival in 1966. One of the committee members was Glen Tomasetti, another woman of strength who had a big influence on my writing. I regularly attended singing sessions at Glen's house practising for various events. Some of these were organised by Wendy, some by Glen, but I remember Glen was the first to talk about a Port Phillip Festival. These two women had a respect for each other but there was also some tension between them. Nevertheless, with help from Shirley Andrews, Norm O'Connor, singers Margret RoadKnight and Martyn Wyndham-Read and others, the Port Phillip Festival came into being. The so-called folk festivals that continue to happen around the country today (although in my opinion not fuelled with the same integrity and at times with a minimal amount of folklore) owe much to that particular festival, especially the spirit of collaboration and respect for 'folk' material that was evident. It was due to the camaraderie in the early years that each annual national festival donated funds raised to help the next festival happen in another state.

Visits to Wendy and Werner's house in Prahran and the parties held at their place were wonderful occasions for discussing views and ideas, gaining knowledge of history and just plain meeting with plain-speaking people; Wendy knew plenty such people. She was active in many organisations including folklore societies and clubs in Victoria, teacher and school associations, peace and arts associations and the New Theatre. She appeared tireless but at times the expended effort left its mark under her eyes.

Wendy was also a great raconteur who could laugh at herself. I remember her telling the story of how she organised the household meals for weekdays with one cooking night each, parents and children, until the day her son Richard broke a 'house-rule' and was given the ultimatum 'shape-up or ship-out'. He chose to 'ship-out' and Wendy wished she hadn't been quite so firm because now, one night a week, there was no cook, so she had to do an extra night. Another story she told concerned Werner, her patient partner. One day a plain-speaking acquaintance asked: 'How come someone as nice as Werner ended up with a tough bitch like you?' 'Nice?' said Wendy, 'Nice? He's not nice, he's just quiet.'

The party held in 1969 to farewell Wendy and Werner when they set out on the 'Great Collecting Journey' was unforgettable. The van and the recording equipment were the focus of much attention at the party, as was the scale of the project which was larger than any undertaken previously. That journey was the beginning of Wendy's full-time writing life, the products of which so enriched Australian culture and self-awareness. From 1970 when Geri and I moved to Sydney my main contact with Wendy was through reading her published articles and books. However, we continued to meet at National Folk Festivals and had brief encounters when I visited Melbourne.

Her book, Weevils in the Flour, with oral histories about the Depression, gave me a new perspective on my parents' life. Her collaboration with historian, Ian Turner, produced Cinderella Dressed in Yella, a collection of children's playground rhymes which alerted me to the rich culture that was blooming in the playgrounds of my workplaces. Under The Hook with Tom Hill about Melbourne waterside workers and The Immigrants with Morag Loh, not only provided valuable histories and insights on the subjects but strengthened awareness that we humans are not islands, and that what helps to make 'Lefties' different from 'Righties' is the willingness to co-operate, rather than compete.

The last time I saw Wendy was at the 2003 National Folk Festival in Canberra where I had organised what was then called a 'workshop' that highlighted the work of three women I wanted to honour for their work and influence: singer/songwriter, Glen Tomasetti; dancer, Shirley Andrews; and collector/writer, Wendy Lowenstein. I enlisted the aid of six younger performers who each were able to present and acknowledge the continuing 'chain of influence' of Glen, Shirley, and Wendy. Although not without some glitches, the event was pronounced a success. I'm really glad I persisted because they all deserved recognition, none more than Wendy.

Wendy generated energy, faith in people, and the belief that social justice was worth working for and that we, the people, could deliver it. She made me believe it too. You don't forget someone who has done that.

Phyl Lobl is an Australian folk singer/songwriter in the traditional idiom. She has contributed to the profile of folk music through the Australia Council and other bodies. She has two CDs: Bronzewing (a retrospective) and Alcyone. For an evaluation of her creative work, see:
<http://simplyaustralia.net/issue7/review7.html>
<bronz@bigpond.net.au>

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