"Ghost of Abraham Lincoln" in Logan County Courthouse for Halloween in Greenfield Village, 1982 / THF146345
Our beloved Hallowe’en in Greenfield Village program is celebrating its 40th anniversary this year. It’s been a fascinating journey to have been involved from nearly the beginning, eventually leading the team that plans and produces this very complicated and detailed guest experience.
Throughout the entire history of the event, the true star of the show has been Greenfield Village after dark. I know of no better palette for our amazing creative team to have at its disposal to work magic year after year.
The year 2020 and its COVID-19 pandemic will be looked back on as a turning point for not only the Hallowe’en in Greenfield Village program, but for all of The Henry Ford. The need for a safe environment and the resources available have forced the team to take a fresh look at the event and view things from a very different perspective. We are excited and invigorated by the plan we have brought forth and we hope our guests are too.
The Beginnings of Halloween in Greenfield Village
The Greenfield Village Halloween program began as an experience shared through our Education Department’s catalogue of classes and courses. This new concept of a family-based, Halloween-themed experience was first developed as a scary wagon ride experience, with stops and treats at various buildings in Greenfield Village. There were other fun seasonal activities, including dunking for apples, a costume parade and contest, and refreshments in Lovett Hall. The wagon ride was carefully planned out and tapped into Village stories, going as far as having as having a staff member’s child on board as a designated kidnap victim--a sign of the different times that were the early 1980s.
"Trick or Treat" at Wright Home in Greenfield Village, October 1982 / THF146356
This program was presented on an ambitious scale. It was offered one night only and served a remarkably large audience. It was wildly popular and showed what future possibilities and demand lay ahead for the Halloween season. (You can read more about this very first Greenfield Village Halloween program here.)
A series of events led to the next phase of the Greenfield Village Halloween program. The Tylenol poisoning scare in the fall of 1982 changed people’s view of the safety of trick-or-treating. This, combined with new staff and reorganized Village Programs and Special Events departments, brought forth the novel idea of opening Greenfield Village at night as a safe place for trick-or-treating. Thus, the foundation for Hallowe’en in Greenfield Village was born: the basic format of the program we have used until now.
This first Village trick-or-treat Halloween program drew an unexpectedly huge crowd of over 5,000 people. No control measures for timed or paced entry times were put in place and the event was open to the public. As expected, the supply of treats ran out quickly and drastic measures had to be put in place to try and keep pace. I remember working at the first treat stop, the Loranger Gristmill. We gave out handfuls of loose candy corn (a nice thematic connection to the gristmill). I remember it being a very chaotic experience and the porch of the gristmill being coated in smashed candy corn, which could not be seen—only felt—under my feet. In the light of the following day, I was amazed to see single pieces of candy corn that had been pressed out to the size of my hand, still retaining their original shape and color!
"Trick or Treat" at Heinz House in Greenfield Village, October 1982 / THF146374
Many lessons were learned that opening weekend. Moving forward, Halloween in Greenfield Village became a members-only event and entry times were established to slow and control the flow.
Developing the Program in the 1980s and 1990s
Halloween would remain a members-only event for the next 20 years. The first few years, Halloween only took place for one weekend in October. This would continue through the 1980s. By the early 1990s, the still members-only program would expand to two weekends and eventually three. During this time, staff were allotted a certain amount of free tickets, but were required to show up on a set day and time and stand in a very long line to get their tickets. Member tickets for the limited number of program days typically sold out very quickly.
In the first era of the program, there was a lot of emphasis put on the treats and their thematic connection to the Greenfield Village sites from which they would be given out. Different treats were picked out each year.
The inside of the brochure for 1983’s “Family Halloween in Greenfield Village” lists the thematic connections for each building treat stop. / THF146311
Connecting the trick-or-treat path were a variety of Halloween-themed vignettes or interactions, associated with historical events and characters with a nod to scary stories of the past. The effects were low-tech and, in some cases, took inspiration from the emerging haunted house industry. First seen in the 1970s, these haunted houses were grassroots amateur efforts, often sponsored and produced by local Jaycees, Elks, and other fraternal organizations as fund raisers. They relied on cheap scare tactics that involved being jumped out at, grabbed, and sometimes gory scenes. For years, we used some of these very same techniques. The Ackley Covered Bridge was notorious for this.
"Gorilla" on Ackley Covered Bridge during Halloween in Greenfield Village, October 1982 / THF146372
When it came to infrastructure, the Greenfield Village of the 1980s and 1990s basically resembled the Greenfield Village of 1929. There were very few, if any, streetlights and limited access to power to add additional lighting. Until the restoration of 2003, Halloween in Greenfield Village was very dark. Because of this, the jack-o’-lantern pumpkin path played an important role in lighting the way through the experience. A continuous thread to today’s program is the large number of hand-carved and candlelit jack-o’-lanterns that line the path—though now, they serve more to create ambience and atmosphere. Over 1,000 pumpkins are now hand-carved each week to achieve the continuous path.
Volunteers Carving Pumpkins for Family Halloween Jamboree in Greenfield Village, October 1981 / THF146327
Throughout the 1990s, the Family Halloween program, still a members-only event, continued to grow in popularity and had become a yearly tradition for many. Creative collaborations between the Special Events, Village Programs, and AV teams continued to improve the experience, and serious work and experimentations began with lighting and visual effects. A huge breakthrough was the discovery that Tim and Tom, the Firestone Farm black Percheron horses were decent riding horses. It was not long before the Headless Horseman made his debut in the front fields of Firestone Farm. He was soon joined by Ichabod Crane and a Halloween in Greenfield Village favorite was born.
By 2001, though the sophistication and fit and finish of Halloween in Greenfield Village had evolved dramatically from its early years, there was still great potential for growth. Previously, costuming had mainly been reworked or cast-off bits and pieces from the period clothing inventory, décor was minimal, and aside from the hundreds of pumpkins on the jack-o’-lantern path, the main emphasis remained on treats.
The New Millennium Brings a Turning Point to the Program
Workers Laying Conduit in Greenfield Village during Infrastructure Restoration, January 2003 / THF133585
In 2002, the big news around Greenfield Village was the impending massive infrastructure restoration that would begin to take place in the fall. The Village would close at the end of September and not reopen until the following June. Halloween would take a hiatus that year as the huge project gained steam. This would be a turning point and a newly imagined program soon emerged, keeping in step with the newly imagined Greenfield Village.
By the summer of 2003, a cross-functional team began planning the work. The team very quickly established a back story that would guide what the new Halloween would and would not be. The shock and gore, now so prevalent in haunted houses, was removed from the mix. Instead, there was a move toward a family-friendly experience that would rely on the power of Greenfield Village after dark and scary and adventure-based stories that fuel the imagination and Halloween spirit.
Another important inspiration was Halloween party guides, published from the early 1900s through the 1950s, in the collections of The Henry Ford. These handbooks gave endless advice on how to decorate, what games to play, what food to prepare and serve, and a whole host of other miscellaneous tips on how to throw the best Halloween party. Among the most useful and inspirational were the series of yearly Bogie Books, published by the Dennison paper and party goods company from 1912 through 1935. These pamphlets were filled with illustrations, some in color, that featured the huge array of crepe paper and other party products produced by the Dennison Manufacturing Company. Elaborate costumes and party décor were shown—along with the list of Dennison products one would need to replicate the awe-inspiring ideas featured. The colors, textures, and techniques guided our teams in both costuming and decorating throughout the Village.
Dennison's Bogie Book: Suggestions for Halloween & Thanksgiving, circa 1925 / THF96746
Trick-or-treating would remain the main vehicle for moving guests through the experience on a set path, but the look and feel of the treat stations would begin to change dramatically. The Period Clothing Studio became very involved and began to design a spectacular series of costumes to bring the gothic, fairytale, and adventure storybook characters to life—with a nod to costumes of the 1910s and 1920s. By 2005, these characters would become the treat station hosts, with their own stages and stage lighting. Other favorite characters, like the Woman in White, the Dancing Skeletons, the live scarecrow, and, of course, the Headless Horseman and Ichabod Crane, made triumphant returns with new costumes.
Costume Studio Preparing for Halloween in Greenfield Village, October 2005 / THF12490
Another significant change at this point was the shift from Hallowe’en being a members-only event to a public event. Members still had first-pick when ticket sales opened, as they do now, but after a certain date, the public was invited to purchase tickets. As the popularity of the event continued to grow, so did attendance capacities.
The creative work to improve costumes, set designs, and theatrical lighting continued. Through the 2010s, staged theatrical performances of Edgar Allan Poe’s “The Tell-Tale Heart” and other fun, but dark fairytales, such as “Hansel and Gretel” and “Little Red Riding Hood,” were added to the mix. To set up the live Headless Horseman experience, Washington Irving’s “The Legend of Sleepy Hollow” was also performed. Along with the dramatic presentations, live Halloween-themed musical performances featuring a vampire trio, the Potion Sisters, and a musical pirate review rounded out the offerings. To top it off, the Top Hat Side Show became a fixture on Washington Boulevard, anchoring the 1920s carnival theme in that area.
The Top Hat Side Show performing at Hallowe’en in Greenfield Village for the first time in 2015. (Photo by KMS Photography)
By 2019, the Hallowe’en in Greenfield Village experience had hit its full stride and welcomed a record number of guests. There were now several different ways to experience the program with the addition of evening dining opportunities, including the children-themed “Fairytale Feast” and the 1850s Eagle Tavern Harvest Supper.
Rethinking Hallowe’en in Greenfield Village in 2020
Signage outside the main entrance of Henry Ford Museum of American Innovation in March 2020, announcing the closure of our venues due to the worldwide COVID-19 pandemic. (Photo courtesy Ellice Engdahl)
Planning for the 2020 Hallowe’en program was well underway when the world as we knew it came to a screeching halt—and along with it, the entire summer calendar of Greenfield Village special events. As we cautiously reopened the Village and Museum over the Fourth of July weekend, The Henry Ford continued to learn and understand how safety measures should work, what the scale of program offerings needed to be, and what the future might bring. By the end of the summer, it was clear that we could consider a Halloween program in October. We knew it would need to be reimagined and presented in a very different way in order to comply with safety measures while at the same time allowing our guests to have a fun and enjoyable experience.
Based on decades of experience in planning and producing large scale public events, the Hallowe’en planning team took a fresh look at the program. It was immediately apparent that the entire concept of lining up for treats would have to be eliminated. Without the need for a set prescribed route, new possibilities opened, and the Holiday Nights model of enjoying the evening at one’s own pace and experiencing program elements in any order became the logical approach. Greatly reduced attendance capacities and timed entry would ensure a safe experience. Unfortunately, we were not able to offer our evening dining experiences this year, but happily, many familiar and favorite characters and experiences made a return.
A witch and the Hallowe’en Express welcome guests to Hallowe’en in Greenfield Village in 2020. (Photo courtesy Jim Johnson)
A very exciting addition for 2020 is the Hallowe’en Express, a brand-new Halloween-themed train ride that makes a round trip excursion from the “Brimstone” Station at the front of the Village. Guests encounter all sorts of sights and sounds along the way. The presence of a live steam locomotive in the Village, with an eerie whistle created just for this occasion, adds an entirely new dimension to the overall experience for our guests.
Over the past 40 years, Hallowe’en in Greenfield Village has steadily grown and evolved. There have been many turning points in its long history, and 2020 will rank among the most significant. New beginnings can often be viewed as painful endings, but the Hallowe’en in Greenfield Village planning team is fully embracing this new beginning and is very excited to share the path we have taken.
Jim Johnson is Director of Greenfield Village and Curator of Historic Structures & Landscapes at The Henry Ford.
An amazing thing happened during the spring and summer of 2020, while The Henry Ford was closed because of the COVID-19 pandemic. A group of dedicated individuals formed a new donor society, the Carver-Carson Society, and raised more than six times what was needed to bring back to life the Detroit Central Market in Greenfield Village.
How in the world did they do this?
Well, prior to the pandemic shutdown, The Henry Ford was still $200,000 shy of reaching its $5 million fundraising goal. The Henry Ford has always had big plans for the market, which was built in 1860 and is considered one of the oldest surviving urban farmer's markets of its kind in the country. The Henry Ford's vision is for the market to become a world-class convening center and hub of innovation by attracting farmers, food entrepreneurs and thought leaders to help educate and engage the public on critical issues, including food security, regenerative agriculture and environmental sustainability. That vision was in danger of being significantly delayed when The Henry Ford had to close its doors in March. This all changed when a group of dedicated donors answered the call to support the market project by forming the Carver-Carson Society and creating plans for The Henry Ford's first-ever virtual fundraiser, Farm to Fork.
On August 20, 2020, Farm to Fork aired live over Vimeo, creating a virtual show filled with interviews, films, cooking demonstrations and engaging conversations. The event was co-chaired by Emily Ford, Lauren Bush Lauren and The Henry Ford's president and CEO, Patricia Mooradian, and raised over $800,000. This thought-provoking and entertaining event helped not only to cross the fundraising finish line but to surpass its original goal.
One of the highlights was the first Carver-Carson Conversation, featuring an intimate conversation moderated by Debra Reid,curator of agriculture and the environment. Special guest panelists included legendary chef and restaurateur Alice Waters; her daughter, designer and author Fanny Singer; event co-chair Lauren Bush Lauren; and Melvin Parson, a community farmer and The Henry Ford's first Entrepreneur in Residence. Their lively discussion touched on important issues around food security, food equity, regenerative farming and the need for local food environments and farmers. We plan to have many more Carver-Carson Conversations, both virtually and in person, in the future.
"It is innovative thinking such as this which dares to dream that we could travel to space, to the moon and eventually to Mars," said Joan Higginbotham, a former astronaut and director of human exploration primes at Raytheon Technologies. She was awarding this year's Most Innovative Award. The winner? Anirudh Cowlagi, inventor of AstroTrack, a Python-based solution to aid with the detection and characterization of minor planets in the solar system.
"Advances in the field of planetary science have been dramatic over the last few decades," Anirudh explained. "However, with this new data comes a need for more effective methods of analysis." Anirudh received a $2,500 scholarship, plus a hand-selected mentor from Raytheon Technologies to aid him in his innovation journey.
The Henry Ford's Invention Convention gives more than enough reason for hope during these challenging times. This year, over 120,000 K-12 students designed and pitched their creative solutions to the problems of the world, from potato-based plastic bags and energy-generating keyboards to more breathable face masks. These students were tasked with a single request: find a problem theycare about and try to solve it.
With lockdowns and travel restrictions inhibiting many educational programs, The Henry Ford digitized Invention Convention within weeks. This quick pivot allowed The Henry Ford’s 20 affiliates to operate their programs and events despite the difficult circumstances. Among these affiliates was the Michigan Invention Convention, which had its most participants ever despite being held virtually. The Henry Ford similarly digitized its U.S. Nationals event, which culminated in an online award ceremony hosted by CBS science correspondent Alie Ward.
The award ceremony featured a number of keynote speakers and presenters, including several former astronauts, the director of the United States Patent and Trademark Office, key executives including the CEO of Stanley Black & Decker and more than 80 award-winning young inventors. Nearly a dozen full patent applications were awarded to students.
The impact of the U.S. Nationals event has been astounding. As of mid-August, the award ceremony video had received over 40,000 views across its channels, with viewership of Invention Convention via news media with 500 million impressions this year. Most importantly, The Henry Ford continues to improve the accessibility and inclusion of the program. This year, over 54% of the inventors were female, and 55% of the winners self-identified as students of color.
The Henry Ford is grateful to its many partners and sponsors who continue to support and help build this vital program of innovation, invention and creative thinking — in particular, Raytheon Technologies, a founding sponsor of Invention Convention Worldwide and the presenting sponsor of U.S. Nationals 2020. Learn more about The Henry Ford's Invention Convention program at inventionconvention.org.
If you are interested in supporting this inspiring program or participating as a judge in 2021, keep an eye on The Henry Ford’s Invention Convention web page for updates in Spring of 2021.
In almost 91 years, our doors have never been closed for more than two days at a time. We have always been here — for your field trips, your weddings, your holidays and your family days out. Then everything changed.
For almost 16 weeks, we were unable to welcome guests through our doors. With almost two-thirds of our operating budget coming from earned revenue — admission tickets, memberships, signature and private events, food and retail purchases — the closure had a devastating impact. In addition to other cost-saving measures, The Henry Ford made the very difficult decision to place more than 80% of our staff (nearly 1,400 employees) on temporary, unpaid leave. Our venues were dark and quiet.
Although our doors have reopened, we are still operating at a significantly reduced capacity. While The Henry Ford has not had a deficit in decades, we are projecting a crippling shortfall of $10 million to $20 million in our 2020 operating budget. But we have been through difficult times before, persevered and emerged stronger, and with your support we will do so again.
The outpouring of support we have received has been amazing. You have been there for us at each step, through donations, membership renewals, messages of support and, when we were finally able to reopen, visiting our venues again. Thank you! Supporters have donated over $400,000 to the Reactivate The Henry Ford Fund. It is great to see that many of these donors were contributing to us for the first time. Every gift is being matched by a longtime supporter of The Henry Ford, so these donations will have double the impact.
We still have a long way to go, and we can only do it with your help. Please continue to support us however you can — visit, renew your membership, donate, share on social media — every action helps. We are thrilled to have you back at our venues and can't thank you enough for everything you do to Reactivate The Henry Ford!
Promotional image for #AskAnArchivist Day 2020 from the Society of American Archivists.
One day every October (American Archives Month), archivists flock to Twitter for #AskAnArchivist Day. The event, organized by the Society of American Archivists (SAA), allows archivists to explain what they do and answer questions from the public in real-time.
This year, four representatives from our Archives--Sr. Manager, Archives & Library, Brian Wilson; Reference Archivist Kathy Makas; Processing Archivist Janice Unger; and Processing Archivist Hilary Severyn--took shifts answering questions from The Henry Ford's Twitter account. Between the four of them, they covered topics ranging from the availability of research assistance during the COVID-19 pandemic to our Ford Motor Company records to mustache-related puns. Below are some highlights from the day's Q&A.
Comic book covers from the collections of The Henry Ford. See them in our Digital Collections here.
Comic books, like all things, change as they age and not necessarily for the better. Whether from the golden, silver or modern age, comic books are all printed on paper that is made from wood pulp. Lignin (a substance found in wood) breaks down and causes the paper to become increasingly acidic, discolored and brittle. Those of you who collect comic books have certainly seen and handled extremely brittle and discolored books. Conservators refer to this the inherent instability of wood pulp paper as “inherent vice.”
If you wish to preserve your comics, you need to take measures to combat this inherent vice by minimizing factors that accelerate deterioration. Steps that you can take to fend off inherent vice include:
Limiting exposure to high levels of moisture, either in the form of water or high humidity. Both can damage comics and accelerate degradation.
Avoiding exposure to ultraviolet and visible light, which can cause inks to fade and paper to become yellow.
Using inappropriate non-archival storage or display materials, such as PVC vinyl plastic bags or boxes, inexpensive wood pulp cardboard boxes, wood pulp mat boards, wooden boxes or wooden frames. Contact with these can cause discoloration.
Avoiding frequent handling.
In this video, recorded live in the conservation lab at The Henry Ford, Chief Conservator Mary Fahey demonstrates how to store, display, repair, and preserve your comic books.
What can be done to preserve comic books?
Take measures to limit exposure to moisture by placing books in archival bags or sleeves made from polypropylene, polyethylene or polyethyleneterephalate (Mylar).
Never store comic books directly on the floor.
Avoid storing books in attics, basements or other damp areas. If no alternative is available, use watertight polyethylene or polypropylene boxes and add a few silica gel packets conditioned to 45-50% relative humidity. The packets will need to be changed periodically.
Limit exposure to light including visible and invisible ultraviolet light. If you wish to display your comics, consider display methods that limit light exposure by avoiding display near windows and turning off the lights when you are not in the room. If you choose to display your books in a lighted showcase case, LEDs on a timer are the best option since they emit minimal ultraviolet light and minimal heat. At The Henry Ford, we have noticed that Mylar covers appear to block some of the damaging effects of light, providing some protection from fading.
All books should be bagged and boarded or encapsulated (see image below) for storage, display and handling. This protects them from dirt and moisture, minimizes flexing and stress of the fragile paper, and protects from the oil and salt in people’s hands. The use of archival materials and methods for storage and display can have a big impact on the longevity of your collection.
The use of acid-free, lignin-buffered mat board, boxes and paper inserts are recommended. These products are made from cotton, and generally contain calcium carbonate, which helps to neutralize the acid that is formed in the comic books as they age. They do cost a bit more, but are well worth it. The Henry Ford uses a variety of display and storage methods for comic books. Some examples include:
Curt Braden, as the “ghost” of Abraham Lincoln, posing with the carved jack-o’-lanterns at the doorway of the Logan County Courthouse that marked treat stops. (Photo courtesy Susan McCabe)
The 40th anniversary of “Hallowe’en in Greenfield Village” seems like a perfect opportunity to reflect upon the first Halloween program in Greenfield Village. I was there with my husband, Curt, in the Logan County Courthouse. With his face covered in white theatrical makeup, he played the “ghost” of Abraham Lincoln for the evening, while I played his wife, Mary Todd. Other “ghosts” were stationed at various other Village buildings, awaiting the young trick-or-treaters who would show up at their doorstep. We all wondered whether it would work, this crazy idea of using the Village as the canvas for a historically-themed Halloween program.
As kids filed through the Courthouse that night, my “ghostly” husband handed them each a Lincoln Head penny while he told them, “Here’s a token in remembrance of me.” Some kids gawked at him. Others smiled and circled back again for another penny. Still others scowled and said, “Only a penny?” I honestly remember almost nothing from that night. It was all a blur except for a few snapshots I have, proving we were there.
Now, 40 years later, I feel compelled to find out exactly what transpired that night. So, I asked Brian Wilson, our Senior Manager of the Archives and Library, to see if he could dig out the original program description of it (which he did). I also got in touch with a few old friends who had helped plan it and participate in it. What I found was that, while our memories are sketchy and sometimes inconsistent, we all felt that night that we were on a mission, a mission to provide guests with a combination of fun and learning using the rich historical stories that pervade Greenfield Village. The magical quality of being in the Village at night (decades before there were streetlamps) didn’t hurt either.
Description of the Family Halloween Jamboree in the 1981 class catalog / THF610727
In 1981, the program was called the Family Halloween Jamboree and it was one of the many listings in the catalog of Adult Education, Teen, and Children’s Classes organized by the Education Department at the time. After the Greenfield Village schools had closed in 1969, the museum had become a strong advocate of offering educational classes for the general public. By the early 1980s, the class catalog was extensive, including page after page of lectures, tours, and an incredible array of craft classes, like glassblowing, blacksmithing, and tinsmithing. Children’s classes also involved a wide array of different take-home crafts and hands-on opportunities.
Colonial Cooking was a popular Adult Education class held in Clinton Inn (now Eagle Tavern) during the late 1970s. / THF112256
Harold Skramstad’s arrival as President in 1981 provided the catalyst to reimagine a wide variety of new educational programs. Summer Discovery Camps began that year, along with new Member programs. All of these new programs were characterized by a close alignment with our historical figures and stories. The Family Halloween Jamboree was no exception. Jim VanBochove, a graduate student intern that previous summer and a participant in the first Halloween program (and now Director of Organizational Culture at The Henry Ford) explained that, “That was one of the great things in those days—that you could really try some new things. There was support, even if it didn’t turn out.”
This program was the brainchild of museum professional Candace Matelic, hired earlier that year as Manager of Adult Education and Children’s Programs. She was helped by her able assistant, Susan Gangwere (now Susan McCabe), a graduate student summer intern like VanBochove who had just recently joined the Education staff. Inspired by Skramstad’s encouragement to be creative, break down old barriers, and try new things, Matelic and Gangwere put their heads together to create each of the elements for this, one of three holiday-related family programs that year.
A colorful and enticing flyer for the 1981 Family Halloween Jamboree. (Image courtesy Donna Braden)
From the beginning, the 1981 Family Halloween Jamboree was planned with children in mind—including “hair-raising stories of ghosts and witches,” making Halloween treats, and enjoying a variety of traditional games. In keeping with the focus on the historic nature of Greenfield Village, children were encouraged to come dressed as their favorite historic character, which they would show off in a “parade down a pumpkin-lighted path,” followed by a judged costume contest with prizes. Parents were encouraged to dress up for the night as well. The evening cost $7.00 per child, while accompanying adults were free.
This cover of the 1982 class catalog shows a portion of the 150 jack-o’-lanterns that volunteers had carved for the 1981 Family Halloween Jamboree. / THF610728
Hay wagons took guests on rides from Town Hall through the Covered Bridge, around the loop and back to the Village Green. On the way, they encountered spooky characters, like the Grim Reaper and the Headless Horseman. Back at Town Hall, they could partake of cider and donuts, and bob for apples. A highlight of the evening was that guests could walk to several trick-or-treat stops in and around the Green. White-faced “ghosts” of historical figures connected with Greenfield Village buildings passed out treats that were specifically themed to each building or character. At the Courthouse, it was Lincoln Head pennies; at Stephen Foster Memorial (now the Sounds of America Gallery), VanBochove, as the “ghost” of Stephen Foster, handed out kazoos while singing excerpts of more “ethereal” Stephen Foster songs like “Beautiful Dreamer” and “I Dream of Jeanie with the Light Brown Hair.” Carved jack-o-lanterns, placed at the doorways, marked each treat stop.
Curt and I pause for a snapshot before heading to the Village for the big evening, 1981. Before the days of a department that researched and created historical clothing for Greenfield Village staff, I did my best to dig out some (rather historically inaccurate) vintage clothing from my own closet to wear for the evening. (Photo courtesy Donna Braden)
This one-night Jamboree attracted some 300 people. As VanBochove recalled, “We all thought that was HUGE. And there were many moving parts so lots of learnings.” Susan McCabe concurred that it was a great way to learn about the logistics of Village experiences, like how to move people through, how many supplies to have on hand, and how to get all those pumpkins carved!
Curt having his white theatrical makeup applied before the big night, 1981. (Photo courtesy Donna Braden)
Building upon the success of this first program, the next year’s program was expanded. Now costing $5.00 per person, it was held on two successive nights. The modest pumpkin-lit path for the children’s costume-judging parade now extended through many of the streets of the Village, with an accompanying map “to tell you the whereabouts of the ghost and spirits we expect to join us.” Candace Matelic remembers that two educational assistants “did nothing all night but keep the pumpkins lit, and there were hundreds of them.”
Description of the 1982 Family Halloween Jamboree, explaining the new navigation through the Village by pumpkin-lit paths and a map / THF610735
One goal of these early programs was to attract new audiences, people who did not ordinarily come to Greenfield Village. As Matelic recalls, “We reached people from all backgrounds…many of whom were coming to Greenfield Village for the first time.” It was also a way to attract new Members by offering them first pass at signing up.
The popularity of the 1982 Family Halloween Jamboree was greatly aided by the Tylenol scare of that year, in which cyanide-laced acetaminophen was found placed on drugstore shelves and sold. This high-profile crime eventually led to the introduction of child-proof containers and tough Federal laws aimed at punishing those who tampered with drugs. No evidence of contaminated Halloween candy was ever found that year and, since that time, stories like these have become the stuff of urban legend. But, in 1982, the scare was real, parents were worried about letting their kids go trick-or-treating through neighborhoods, and that year’s Family Halloween Jamboree in Greenfield Village received a big boost in attendance.
Beyond this, Matelic thinks that these early programs were exceptionally unique because, “We clearly touched a chord in providing a safe and memorable family experience in those early years, in response to a community need. I like to think of it as a gift to the community. It was fun, interactive, and welcoming. We had fun and that let visitors have fun. We made a connection to a beloved American tradition and started a new relationship to the community.”
By 2018, the year of this photograph, “Hallowe’en in Greenfield Village” had become a mega-event that lasted 11 nights and attracted 70,000 guests.
These two early programs laid the groundwork for today’s extravaganza that thousands anticipate every year. Why does it remain as popular as ever? Having spent time at many treat stations over the years, VanBochove remarks that, “it has always amazed me that even with the thousands of guests who come on any evening, almost everyone has a sense that the program is just for them, that they are there with family, and that this is a special memory that only we can help create.” Matelic, who has worked at several museums since those early days and mentored hundreds of students pursuing museum careers, reflects that, “While the focus and contents (and size and length) have broadened over the years, the program is still touching hearts and minds, offering an opportunity for generations to continue making cherished family memories.”
Do you have a cherished memory of the 1981 Family Halloween Jamboree in Greenfield Village?
Donna R. Braden, Senior Curator and Curator of Public Life at The Henry Ford, would like to thank Candace Tangorra Matelic, Ph.D., Susan Gangwere McCabe, Jim VanBochove, and Curt Braden for their willingness to share their memories of this groundbreaking program.
We are truly living in unprecedented times. On Friday, March 13, 2020, The Henry Ford closed its doors due to the worldwide coronavirus pandemic. We did not open them again until Thursday, July 2—and even then, only on certain days, with many new guidelines in place about masks, social distancing, and capacity, to protect our visitors and staff. None of us predicted that we would remain closed for 16 weeks—but then, there is much happening now in the world that would have been difficult to predict.
One of the many unusual things that happened over that four-month period is that the most-viewed section of our website was our Digital Collections. While our online collections typically get tens of thousands of views each month, they’ve always fallen well short of our “Visit” section—until COVID-19 shut our doors. Between mid-March and late June, visitors viewed artifacts in our Digital Collections about 285,000 times. This whetted our curiosity about what artifacts people were looking at during our closure, and why—so we decided to put a list together and take a closer look.
The Quadricycle was the third-most viewed artifact in our Digital Collections during our pandemic closure in 2020. / THF90760
One group of artifacts that was not on last year’s list, but that was highly viewed during our closure (and since), is items related to the challenging history of race in America. Given the nationwide protests sparked by the death of George Floyd, many Americans are seeking to broaden their understanding in this area, which might explain this uptick in interest. A slave collar, a “Whites Only” drinking fountain, a Ku Klux Klan robe and hood, and an Emancipation Day photograph are all artifacts on exhibit in “With Liberty and Justice for All” in Henry Ford Museum of American Innovation illustrating this disturbing history—and all were sought out by hundreds to thousands of online visitors between mid-March and late June.
This slave collar was featured in an online article called “Why We Can’t Stop Thinking About George Floyd’s Neck.” / THF13425
Another group of items that seems pandemic-specific are documents and photographs from the World War II era. In George Washington Carver’s last agricultural bulletin, published in February 1942, he encourages Americans to consider wild plants (what many might call weeds) as an alternative to green vegetables, should the war cause shortages. In March, journalist Nicholas Kristof referenced our Willow Run expert set as an example of ramping up production in a short timeframe in a New York Timeseditorial about the coronavirus. Likely as a result, a B-24 Liberator bomber production flowchart and a photograph of a B-24 in flight made it into our top artifacts over this period. A “United We Win” poster speaks to both World War II and issues of race relations.
Ford Motor Company’s fast ramp-up of B-24 Liberator bomber production during World War II provides insight on the ramp-up of coronavirus testing and treatment supplies in 2020. / THF251440
The last pattern we noticed was the popularity of artifacts related to recent films, at a time when many Americans stayed at home and increased their movie watching. Three auto racing photos—including the single-most viewed item during our closure, this photograph of race car driver Ken Miles at the 1966 24 Hours of Le Mans—demonstrate the continuing popularity of Ford v Ferarri, the 2019 movie about that very race. This letter, allegedly from Clyde Barrow to Henry Ford, has been popular ever since last year, when Netflix released The Highwaymen, a movie about the race to apprehend Bonnie and Clyde. During our closure, it was the fifth-most viewed artifact in our online collections.
This portrait of Ken Miles at the 24 Hours of Le Mans Race in 1966 was the most-viewed artifact from our Digital Collections during our closure. / LeMans06-66_441
It’s interesting to see patterns in views of our digital artifacts that map so closely to what has been going on in the world. To see if you can find any additional patterns we missed, check out the entire list of the most-viewed digitized artifacts during our COVID-19 closure here. And check out our Digital Collections for yourself—you might just find something there of value to you during these strange times.
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
This year would have marked the 70th anniversary of Old Car Festival, the longest running antique car show in America. While due to the COVID-19 pandemic, we currently can’t be immersed in the moving stories of the early automotive era, we didn’t want to miss the opportunity to celebrate our longest running and one of our most loved events in Greenfield Village.
Old Car Festival is more than just a car show. It’s an experience. It’s the detail that goes into the costumes and settings of the vignettes created by our staff that depict the turn of the century to the Great Depression. It’s the blues, jazz and Ragtime that you can hear throughout the streets and the dancing to go with it. It’s the delicious food offerings from our culinary team. It’s the sight and smell of more than 800 vehicles taking to the streets and taking over nearly every corner of the village. All of it together transports our participants, members, guests and staff back to a time when these vehicles created their own roads.
All of it wouldn’t be possible of course, without our wonderful participants who come year after year to take their cherished treasures out for a spin (or just for show in some cases), participate in games of skill out on Walnut Grove and share their favorite stories with those who pass by.
In addition to the 70th anniversary of Old Car Festival, this year’s event would have also celebrated the centennial of the 19th Amendment. Automobiles arrived just as women were making new inroads in the workplace and in civic engagement. It’s not too much to say that the car’s freedom of mobility made an important contribution to this social change. On September 10, our curator of transportation Matt Anderson participated in a special THF Conversations for our members on “Women behind the Wheel,” taking a look at how early American carmakers marketed to women and the role the car played on the road to suffrage. (The link to this video will be available here soon, or read about the same topic here.)
We look forward to making more Old Car Festival memories soon. Until then, stay safe and have a great weekend--and if you want, explore round-ups from previous Old Car Festivals on our blog here.
Melissa Foster is Senior Manager of Public Relations at The Henry Ford.
Sometimes, the objects we find in storage surprise us.
Imagine this: the Institute of Museum and Library Services (IMLS) project team is working in the Collections Storage Building, selecting objects to be conserved as part of our grant-funded work. From the top level of pallet racking, about 15 feet above the ground, we remove some pallets of boxes and bring them down to ground level to unpack. We then climb the moveable stairs to take a peek at the area that we have exposed. The sight that greets us is confusing, but intriguing: a giant, golden-toned teapot, sitting in the center of the racking, far enough back that it was not visible from the ground. It was almost like revealing a magic lamp! We test-lifted it and realized that it was very light for its size, and must be hollow, so we carefully moved it off of the racking and to ground level
The giant teapot trade sign as we found it in the Collections Storage Building (after we had moved it down from the top shelf).
From the bracket that we found on the handle, it quickly became apparent that this was some sort of a trade sign, likely for a tea shop or coffee house. The body of the teapot occupies a space about three feet on every side – it would have been a very eye-catching sign! A little bit of research led us to some other interesting examples, including one that currently hangs above a Starbucks in Boston and is set up to blow steam out of its spout!
Our teapot has some mysteries, though – the golden paint has some texture to it, as if there were at one point a stripe along the widest part of the teapot’s body, with vertical stripes reaching from that stripe to the lid. Was the teapot originally painted a different color, or with a pattern? We did some minor tests to see if we could isolate different layers of paint, but we were not successful. We might decide in the future to do a more thorough analysis, but that would be after discussion with the curators. We also noted that our giant teapot does not have a hollow spout, and therefore, despite being hollow, probably never had the mechanism to blow steam in the same way as some others.
The giant teapot on the table in the lab - you can really get a sense of how large it is!
Ultimately, we don’t know a lot about where the giant teapot was originally used, or where it may be displayed in the future. We treated this object with nothing more than a simple cleaning – it was overall very stable to begin with, just dusty and dirty from being in storage. By minimizing treatment to the point of only stabilizing the object, we are leaving the option open for a future conservator to do more work while still ensuring that it’s going to be safe and sound in storage. It also allows us to treat more objects from storage as we progress through the grant. Maybe someday in the future we’ll see the giant teapot again, but for now it’s safe and sound in the Main Storage Building! You can check it out in our Digital Collections.
The giant teapot after treatment, ready to go back to storage. Louise Stewart Beck is Senior Conservator at The Henry Ford.