“A Year Long and a Smile Wide”

The year 1981, marked a “magical milestone” - The Magic Kingdom’s first ten years of operation, an event celebrated by more than 15,000 employees, and culminating with the “Happiest Happy Birthday Ever”! Walt Disney World turned 10 years old and was kicking off the biggest year long and smile wide Tencennial party the World had ever seen!

The Magic Kingdom’s Tencennial was a year-long event, which included “high stepping parades, live musical entertainment, great new shows and more”. The theme song “Disneyland is Your Land” (written and composed by Robert Moline for Disneyland’s 25th Anniversary) was reworked into the musical theme of Walt Disney World’s 10th Anniversary - “Disney World is Your World”!

Walt Disney Entertainment department developed new shows and parades for all of Walt Disney World. “Walt Disney World is Your World” - The Kids of the Kingdom and Walt Disney’s cast of characters presented a 30-minute musical journey through the Magic Kingdom’s lands, from the Tomorrowland Stage! The show was so successful and popular, that it was extended for years. However, below you’ll see Vintage Views of the original 1981 version of the show, starring the Kids of the Kingdom.

“The Tencennial Party” - Twice a day, Walt Disney’s cast of characters, musicians, and dancers trigger a “grand balloon release” in front of Cinderella’s Castle.

“The Walt Disney World Tencennial Inauguration Celebration”

Cast Members and their families were cordially invited to The Tencennial Inauguration Celebration, October 1-3, in the Walt Disney World Vacation Kingdom! Cast enjoyed three fun-filled days of celebration as guests of the Walt Disney World Vacation Kingdom with a party plan that included:

Thursday, October 1 - The Inaugural Dedication Ceremony and Premier Tencennial Parade. The Tencennial activities began at 9 a.m. Oct. 1, when Walt Disney World welcomed the first visitors of the second decade at the Main Street Train Station. Other events on the first included an introduction during the afternoon of the special Cinderella Castle character birthday party, first running of the Tencennial Parade at 4 p.m. and first performances of the “Disney World is Your World” musical shows. All of these would be daily happenings throughout the Tencennial Year until Sept. 30, 1982.

Friday, October 2 — Dedication of the new Orlando International Airport. A sneak preview of the EPCOT Center construction site. The Invitational Tencennial Inaugural Party and Dinner in the Magic Kingdom featuring a firework spectacular. The main event was a special invitational party on Friday night, Oct. 2 in the Magic Kingdom. The park closed to regular visitors and re-opened for Cast Members and other invited guests complete with fireworks and an aerial laser light spectacle, the Tencennial Parade, a fried chicken dinner and lots of other special activities. Several celebrities and officials joined the fun evening.

Saturday, October 3 - The Grand Tencennial Parade with a magnificent 1,076-member band. On Friday morning, there was a brief Epcot Center Preview primarily for out-of-town guests who will also attended the grand dedication of the new Orlando International Airport Terminal at 11 a.m. Oct. 2. A 1,076 piece marching band was added to the Tencennial Parade for a climax to the inaugural events on Saturday, Oct. 3 at 2 p.m.

These three days of Tencennial excitement was a birthday gift for Cast Members and a way of saying “thanks” for helping to make a decade of Disney dreams come true.

The floral garden (near Liberty Square) advertised the Magic Kingdom’s 10th year with this colorful arrangement.

The winter season crowds await the start of The Magic Kingdom’s Tencennial Parade!

“Welcome to a land of dreams…a kingdom full of magical things!” Mickey Mouse and Minnie Mouse lead the parade procession of units (and their floats), as the spirit of the Magic Kingdom’s lands are commemorated. The horse-drawn car carries the caroling residents right down the middle of Main Street U.S.A.

“Ten today, and goin' strong! We can't believe it's been that long! Come on and join the family! Walt Disney World is your world!”

“Disney World - A Wonderland, for girls and boys, and moms and dads…a happy ever after land!…Disney World is your world!”

"A Year Long and a Smile Wide"

Each day, guests were selected to take part in the Tencennial Parade, and ride as honorary Grand Marshall in the electric horseless carriage! Here, Harvey chauffeurs comedian (and celebrity golfer) Bob Hope aboard a horseless carriage as he is honored as the Grand Marshall of the Tencennial Parade, held on October 1, 1981. Bob was present (and on Stage as Host) at the 1955 Oscars, when Walt Disney received the award for Walt Disney Studios for the “group effort” of the “many men that do their part” for the finest effort in Special Effects in a film.

Finally, the traditional 1907-style steam-powered Disneyland Dragon Calliope with its pipe organ (and pianist) stops to delight crowds periodically! You may recollect that this was one of nine circus wagons that Walt Disney originally purchased from Bradley & Kaye’s Kiddieland amusement park in Beverly Park. Walt had this particular circa 1907 circus wagon redesigned, utilizing parts from other circus wagons. The result of the $50,000.00 overhaul, was the one-of-a-kind “Dragon Calliope”!

The Dragon Calliope was first seen in Disneyland’s Press Day parade and went on to be featured in numerous events over the years, beginning with the Mickey Mouse Club Circus Parade in 1955. The Dragon Calliope was also featured in at least one Walt Disney Production - “Toby Tyler or Ten Weeks With A Circus” released in Sarasota Florida on January of 1960. The Dragon Calliope was also notably featured among the circus-themed units in the Independence Day Parade at Disneyland, in 1962. Two years later, Walt Disney donated the circus wagons to the Circus World Museum in Baraboo, Wisconsin, but he kept his custom-built Dragon Calliope!

In 1980, the calliope received a minor refurbishment. None of the original insides were altered, except two fine whistles which were installed, (in order to increase its musical ability two full octaves)! The Disneyland 25th “Family On Parade” would be one of the Dragon Calliope’s final Disneyland appearances. When the parade ended, the Calliope (along its polished pipes) was shipped off to Walt Disney World Magic Kingdom (in Florida) to play a part on the Walt Disney World Tencennial celebration, before heading west again, and being utilized in Disneyland’s Circus on Parade!

Subsequent floats would pay tribute to the various lands that make up Walt Disney World’s Magic Kingdom! The Diamond Horseshoe Revue chorus line advances the Frontierland Unit down the parade route.

“Everything's gonna be, all right! Future is the key, so bright. All the plans we made today, come our way. To-Mor-Row…Tomorrow!”

“Here's a place…made of dreams - a kingdom full of magical things! If you believe this song we sing, you may never want to leave…Disney World!”

“Disney World is your world!”

“…You see the greatest smiling’ faces up and down the street, its remarkable all the friendly people we meet, walkin’ right down the middle of Main Street U.S.A.!”

“There’s a little guy that you may meet. He’s cute and cheerful and quite an earful, and his name is Mickey Mouse!”

He’s “got a sweetie down by the chicken house. Neither fat or skinny, she's the horse's whinny! She's my little Minnie Mouse!”

“All the animals are singing loud and clear, when the tropical drum beat can thunder your skin! There is only one place we can be - Adventureland!”

“When the band plays Dixie at Disney World, they’ll be marching through the square, and we’ll all be waiting there, to see the saints…come…marching…in!”

“We hope that you'll be coming back again - that you'll drop in and see us now and then. We've done our very best to please, with just the bear necessities! We hope that you'll be comin' back again!”

“Swanee…How I love you, how I love you! My dear ol' Swanee, I'd give the world to be among the folks in D-I-X-I-E!”

“All the plans we make today, come our way! To…Mo…Row…Tomorrow!”

“Disney World…a wonderland…for girls and boys…and moms and dads! A ‘happy ever after’ land - Disney World!…Disney World is…your world!” After the reprise of Disney World is Your World, the show would end to the sound of the Tencennial Fanfare!

Decorative banners (bearing the Tencennial color scheme) mark the stage where the Castle Forecourt Birthday Party is celebrated twice, daily.

Many area residents had much reason to celebrate the Tencennial too. A few years earlier (in 1976; in interview with Orlando-Land) Florida State Governor Reubin Askew (a regular Guest of Walt Disney World Vacation Kingdom) commented: “When I think of Walt Disney World, I marvel at the incredible success of this extraordinary attraction. It has had an enormous economic impact not only in Central Florida but throughout the entire State. It has brought record numbers of tourists to Florida and created employment opportunities for untold thousands of our residents.”

Limited edition merchandise was produced, like that Walt Disney World Tencennial Streetcar by Pride Lines. Even after this year, guests could continue to “take a ride down memory lane.”

On December 15, 1966, Roy Disney addressed the employees of Walt Disney Productions: “Walt Disney's preparation for the future has a solid, creative foundation. All of the plans for the future that Walt had begun - new motion pictures, the expansion of Disneyland, television production and our Florida and Mineral King projects will continue to move ahead. That is the way Walt wanted it to be… Last October when he accepted the ‘showman of the World’ award in New York, Walt said, ‘The Disney organization now has more than four thousand employees. Many have been with us for over thirty years. They take great pride in the organization which they helped to build. Only through the talent, labor and dedication of this staff could any Disney project get off the ground. We all think alike in the ultimate pattern.’”

“Unlike a world's fair, EPCOT's World Showcase will be a permanent international exhibition. No nation's exhibit or restaurant or product displays will be ‘torn down’ after one year or less-the standard requirement at world's fairs. Instead the one-time construction costs will go on working for a country for many years at Walt Disney World. Here the nations of the world will stand side by side in two semicircular buildings. This semicircular design not only will offer equal exposure and public access for each nation...but will also function as an interrelated series of experiences for every guest. for the entire complex of attractions and exhibits will be tied together by a Disney people-moving system that will also offer visitors a ‘preview look’ into each country's pavilion.”

By 1975, “the need for an Experimental Prototype Community of Tomorrow… was[sic] even greater than when Walt Disney first began talking about it in 1965.” The Experimental Prototype Community of Tomorrow was to feature a living community where American Industry would always be introducing, testing and demonstrating new techniques and systems designed to enhance the quality of urban life. EPCOT was always to be a showcase to the world community. And so the author of one c.1975 prospectus stated: “Now, more than ever, our world needs a focal point a forum where creative men and women of science, industry, government and the arts from around the world can present new ideas and technologies... stimulating new concepts that will enable both the leaders of the world and the general citizenry to better understand the great challenges facing people around the world…and the possible solutions to these great challenges.”

Soon the second Phase of Walt Disney World was being planned - EPCOT Center. According to one EPCOT Center’s instructor’s orientation guide, one objective set out for EPCOT was “to be a ‘permanent international people-to-people exchange’. . . advancing the course of world understanding among its citizens. What we are doing now is creating a public focus. . . a ‘center’ for the communication of what is being done. . . made directly to the public in ways they will both understand and enjoy. Our goal through EPCOT Center is to inspire our guests who come here, so that they will be turned on to the positive potential of the future and will want to participate in making the choices that will shape it. In short, we believe that EPCOT Center will establish a new level of entertainment and equally important, education for families and people of all ages from all lands. . . and that EPCOT Center will give people hope that there are solutions to all the problems that exist in the world today. . . and that there truly can be understanding among nations.”

One Walt Disney World Showcase prospectus added: “Here the nations of the world will meet on a coequal basis to communicate on a ‘people to people’ exchange with the more than 12 million visitors to Walt Disney World. Here young people from all over the earth will come to operate the attractions of their native lands… to serve the distinctive foods and to demonstrate and sell the unique merchandise of their home countries. Unlike a world's fair, EPCOT's World Showcase will be a permanent international exhibition. No nation's exhibit or restaurant or product displays will be ’torn down’ after one year or less-the standard requirement at world's fairs. Instead the one-time construction costs will go on working for a country for many years at Walt Disney World.”

A prospectus (entitled “EPCOT Center… People Bring It To Life”) opens by describing how the World Showcase was one of two principle themes of EPCOT Center, as it “be a ‘Community of Nations,’ the only permanent international exposition of its kind anywhere, focusing on the cultures, traditions, tourism, and accomplishments of people around the world.” Initial show master-planning and conceptual development resulted in EPCOT Center World Showcase presentations that were “80 per cent World Showcase and 20 per cent EPCOT. Since then, we’ve evolved to the place where there’s maybe 80 per cent EPCOT and 20 per cent World Showcase. I think now we feel we’re at a point where we know what EPCOT and World Showcase are going to be. The two projects will work together and compliment each other,” according to a statement by Jack Lindquist, in which he discussed EPCOT Center plans. Herb Ryman created c.1965 suggestions for Walt Disney’s Progress City and “enclosed shopping areas… representing countries of the world.” According to another prospectus, “The World Showcase comprises the southern half of EPCOT Center where at least ten participating countries will stand side-by-side in friendship along the banks of a broad lagoon… The participants in this first phase of World Showcase include United Mexican States, Japan, Federal Republic of Germany, United Kingdom, French Republic, United Arab Emirates, Italian Republic, Canada, State of Israel and Morocco. Disney Imagineers are now working with government or business interests from these countries to achieve a unique and meaningful showcase for each nation.” Surely any wanderlust was sure to be satiated through the Epcot Center World Showcase.

Walt’s people and company were now embarking on “imagineering” a new, grander “theme show” for Florida audiences. The latter expression (“theme show”) was once defined as: “A controlled, usually man-made environment where as many as possible elements pertain to a single fictional or non-fictional motif. Thus, an individual placed within that environment may consciously or subliminally experience it.” But even more (as one sanctioned statement elaborated): “We are talking about all the things a guest may experience and be entertained by - colors, sounds, lights, detail - timing, taste and texture. Through art and animation, our imagination, creativity and talent blend together to make our ’show.’”

Walt Disney once said: “The whole thing here is the organization. Whatever we accomplish belongs to our entire group, a tribute to our combined effort.” In step with Walt’s philosophies, what was described as a “complex and highly diversified team” of individuals (among the Project Management and the Project Team) would coordinate and translate the concept of EPCOT Center into a reality. The Italy Pavilion would be Imagineered by the collaborative contributions of writers, designers, artists, film makers, engineers, sculptors, and builders. The WED Store Planning & Production Design Team was responsible for the shop layout, function, and overall design and theming. The WED Interior Design Team was responsible for the selection of store colors, materials, finishes, furniture, and floor and carpet design. In addition to these contributors were committees of foreign nationals, representatives of corporations and governments.

Harper Goff (who had many years before, worked on designs for Disneyland in secrecy), was now serving as World Showcase Project Director, alongside Walt Disney Imagineers like Bruce McCurdy. Marty Sklar recollected (in “One Little Spark! Mickey’s Ten Commandments and The Road to Imagineering”: “I had spent eight of my eventual fifty-four years at Disney leading the Imagineers in developing the concepts, playing a key role in convincing the major corporate sponsors to make Epcot a reality, and producing the myriad of shows and stories that attracted more than ten million visitors to visit Epcot in its first year.”

These were lead by Project Director Jim Nagy, EPCOT Center World Showcase Italy Project Manager Jeff Burton, Bill Tyson (Resident Engineer), Bruce MacDonald (BVCC Project Manager), Ron Stahlhut (Tishman Project Manager), Pete Rahill (Pico Coordinator), Don Golde (Project Business Administrator), and Dave Yanchar (Project Planner), with the help of General Contractors Inland Construction Company, Inc.

Walt Disney World Shops would employ disciplines found at MAPO, supporting MAPO with in construction manufacturing.

The Showcase Area Development Landscaping Team was comprised of Don Hughes (Project Manager), Bill Coan (Resident Engineer), Jim Franklin (BVCC Project Manager), John Payne (PICO Coordinator), Joanne Fernholz (Project Business Administrator), and Dave Yanchar (Project Planner). [“Epcot Center - People Bring it to Life,” prepared by WED/MAPO, c.1980]

“Jack Lindquist, Vice President of Marketing for Disneyland and Walt Disney World… [headed] up our team responsible for lining up participants for EPCOT and World Showcase,” according to Disneyland LINE Magazine. By 1978, at least one company had expressed an intention to participate in the Italy World Showcase - Alfredo de Roma.

"I don't want the public to see the world they live in while they're in the park. I want them to feel they're in another world.” - Walt Disney. Nestled between a stretch (of more than 40 miles) of canal, a perimeter road, a service road, and the shores of the World Showcase Lagoon Promenade, is the EPCOT Center Italy World Showcase. Everything in the EPCOT Center Italy World Showcase would be to this theme and atmosphere from this particular time, place and subject. A themed motif would be incorporated into every aspect of operation (e.g., room décor, menus, attractions and costumes).

The aforementioned “The Spirit of EPCOT Center” c.1982 instructor’s orientation guide introduces the Italy Pavilion the following way :

“A faithful reproduction of the Doges Palace in Venice, the Campanile from Saint Mark’s Square, and a Venetian-like ‘Isle of the Lake’ complete with gondolas set the scene for Italy.

The large restaurant here, L’Originale Alfredo Di Roma (Alfredo’s the Original of Rome), invites guests to sample Fettucine All’Alfredo- wide noodles tossed in a sauce made of butter and imported Parmesan cheese, and even of you decide not to dine here, it’s fun to stop and peer through the glassed-in kitchen windows to watch the cook making pasta from scratch. Ricasoli wines are served.

Three shops complete the Italian pavilion. A Crystal Shop stocks hand-carved wooden items, ornate gilt trays and jewelry boxes, lovely Venetian glass and more.

Beautiful jewelry and jewelry boxes , keeping company with the most elegant silks scarves - are sold in a Jewelry Shop.

The third shop offers pottery, glass, leather goods, baskets, and other hand-crafted Italian imports.”

It is notable to mention that during these early years, it was commonplace for merchandise locations to stock General Merchandise - non -character and/or decorative items, including film and sundries. There were Capidimonte - Figurines molded from a special clay and made only by craftsmen from the school of Capidimonte (dating back to 1743). There was Terra-cotta - ”baked earth” - pottery and sculpture utilizing special brown-red clay. There was Venetian Glass - Characterized by a delicate, lacy design. Venetian glassmakers were the first to introduce enameled glass, and clear, colorless glass during the 13th century.

When Epcot Center opened in 1982, there were 34 merchandise locations. Soon all the culture that is Italy would be consolidated into the microcosm that is the Italy World Showcase Pavilion. The “road to Rome” and its Italy Pavilion opened with the Arcata d’Antigian shop, the Il Bel Cristallo shop, and the singing waiters of L’Originale Alfredo di Roma Ristorante restaurant.

•The Craft Shop (D'Artigiani), featuring "i Santi" -hand-bags, tote bags, attaché cases, and other leather goods.

•Arcade - leathers, baskets, terra-cotta

•Better Gifts (I Bel Cristallo) - capidimonte, figurines, glass products, decorative gifts.

•jewelry Shop (La Gemma Elegante)-jewelry, accessories, small leather goods, silk scarves.

New shops would appear (the Arcata d’Antigiani would be renamed Delizie Italiane on November of 1983).

“EPCOT World Showcase Dining”

Epcot Center offered a sampling of delicious cuisine - a wide variety of dining experiences available for guests to savor in an international setting. Beer, wine and spirits were available at all table-service locations. Refreshing ice cream, beverages and snack carts could be found throughout Epcot Center.

L'Originale Alfredo di Roma Ristorante featured traditional pasta, veal, chicken and seafood dishes, including world-famous “Fettucine All’ Alfredo,” and wine and spirits over lunch or dinner.

Even the design of the Backstage sides of Italy wrap around “as far as the sightlines,” so that the “story doesn’t stop abruptly.”

The EPCOT Center World Showcase almost had a legacy in WESTCOT Center - “a West Coast version of EPCOT Center, with a Spacestation Earth as its centerpiece, and a World Showcase. It was initially announced in March 1991, to be built where Disney California Adventure was eventually situated.” [Disney Facts Revealed by Dave Smith, 2016]

The Campanile (Clock-bell tower) is beginning to take form.

Soon, this hundred-foot-tall bell tower will be crowned by a beautiful Venetian angel, a product of “the Disney tradition of attention to detail in every design element, no matter how small or remote.” According to “A Dawn of a New Era” (a commemorative Pre-Opening Guide to Epcot Center), “the exquisite sculpted figure will probably go unnoticed, except by the angels themselves.”

During construction some 750,000 - 800,000 square feet of concrete were poured in EPCOT Center.

On September 16, 1981, Jack Lindquist firmly announced the official EPCOT Center Grand Opening date for EPCOT Center World Showcase Italy Pavilion - Thursday, October 14, 1982.

“Italy is Represented at the International Festival of Festivals”

Epcot Center World Showcase Festival Program Reception celebrated a unique Community of Nations on Saturday, October 23, 1982. The grand finale the evening's festivities, Le Carna-val de Lumière proudly proclaimed the Official Opening with the presentation of the world premiere of its International Festival of Festivals, a celebration of celebrations. Epcot Center's nighttime extravaganza of illuminations, water, sound, and fire was viewed from Showcase Plaza. This show, was to be an ongoing feature of World Showcase, using the new medium of computerized “magic-lantern” illumination to transport audiences to other times and cultures, inviting their imagination to engage in moments of festivity around the world.

Every society rejoices in what it feels most deeply about, inventing vivid rituals to celebrate important events in the cycle of life. Throughout the ages, the family of man has marked these joyous occasions with impressive public feasts and fêtes, dancing and music, parades and processions, pageants and exhibitions, spectacles and fireworks. These celebrations march from the past, through our lives today, and into the heritage of future generations. Through kaleidoscopic tapestries of light and sound, Le Carnaval de Lumière took audiences across the entire world and through twenty centuries to experience the rich diversity - and the commonality - of human celebration.

The roster of international entertainers is still impressive. The following groups were featured: All-American College Marching Band, West Point Glee Club, the Royal Irish Rangers (the last Irish infantry regiment in the British Army), Koleda (a highly professional group of dancers and musicians from Valenje, Yugoslavia), the Folkloric Dancers of Madrid (Spain), the Folklore Group Fribourg (Switzerland), Leyte Kalipayan Dance Company (Philippines), Areyto (The National Folkloric Ballet of Puerto Rico), Kelaa M'Gouna and Imintanout Folk Dancers and Musicians (Morocco), Ballet Folklórico Nacional de Mexico, The Boys Band of Meersburg (Germany), National Korean Folk Dance Company, Historic Standard Bearers of the District of Cori (Italy), "Lous Pastous Seignossais" Folk Ensemble (France), Finnish Folk Dance and Music Ensemble, "Katrilli" (Finland), Tivoli Boys Guard Band (Denmark), The National Folklore Troupe of Egypt, Universidad del Valle Folk Dance Group (Columbia), Lucnica (Czechoslovakia), The Shanghai City Song and Dance Ensemble (China), the Royal Canadian Mounted Police Musical Ride, The Royal Barbados Police Band, The Hunting Horns of Hoffalize and The Hunting Horns of St. Hubert (Belgium), COSAAN African Dance Company, and Odori Festival of Japan.

The 1982 program introduced Historic Standard Bearers of the District of Cori:

“Harkening back to entertainments in the 16th century and preserving popular medieval ceremonies, this folk team presents a highly unique show. The group consists of an ensign, trumpeters, a drummer, and the standard bearers of the streets of Cori, an old city situated about 40 km. from Rome. The colorful costumes and banners, the provocative music, and the lightning-fast technique in twirling and throwing the banners evoke the startling pageantry of ancient times. The commanding movement of the banners swift, proud, and exact - excites and surprises audiences with its force, clever-ness, and skill. Although there are other locations in Italy where similar pageantry is prac-ticed, none is considered as expert and daring as the Historic Standard Bearers of the District of Cori.”

We’re looking at a replica of the 14th century Venetian Doges Palace, authentic down to the marble-like textures. The Doges were the titles of the chief magistrates of Venice from 697-1797.

This color “Vintage View” allows us to see the stark contrast of those pink hues against the wooded areas of the surrounding botanical gardens. Here, we find the native kumquat trees, cypress trees, olive trees, pine trees, and Mediterranean Citrus that are native to some parts of Italy, simulating the feel of the countryside!

“A Capital Project”

Note the columns - rigid upright supports with a capital and base, sometimes functional and sometimes decorative (as in this case). Each is topped with a capital.

The area utilized two separate types of lighting: Character lighting, and Functional Lighting. Character lighting such as a chandelier, or kerosene lamp, was themed to enhance the overall appearance and complement the interior. These added to the show, but didn’t necessarily create enough illumination for operation. Functional lighting on the other hand, offered substantial light without being obvious, or distracting from the show.

Neptune was the God of the Sea in Roman mythology, with power over the sea and seafaring. Neptune was also the God of earthquakes and horses.

Dine as the Romans do - at L'Originale Alfredo Di Roma, where singing waiters serve such epicurean delights as the Maestro's own Fettucine Al'Alfredo.

The Disney concept of theming is evident throughout Disneyland and Walt Disney World. Our shops complement the themed area and the merchandise. This is also carried over to Epcot Center World Showcase where we find souvenir shops that create tangible memories for Guests through Show and traditional merchandise of national origin.

It is notable to mention that during these early years, it was commonplace for merchandise locations to stock General Merchandise - non-character and/or decorative items, including film and sundries. In all, about 30% of merchandise had the Epcot Center logo, while the other 70% was general.

Walt Disney Entertainment department developed new shows and parades for all of Walt Disney World. Character and Equity groups performed in this area of World Showcase South, with Characters overseen by the WSC South Captain.

“EPCOT CENTER-Illumi-Nations”

EPCOT CENTER-Illumi-Nations, the most dazzling, high-tech spectacle ever produced by Disney opened January 30, 1981 at Epcot Center. IllumiNations took place every evening just before closing around World Showcase Lagoon. IllumiNations actually transformed World Showcase into a totally new sensory experience as it enveloped 8 international courtyards that surrounded World Showcase Lagoon. The electrifying display blended a lush orchestral score with spotlights, lasers, fountains, fireworks and projected images to create an event of unparalleled visual impact.

25 computer systems synchronized the following to create the special effects that made IllumiNations so electrifying:

• 13 special effects projectors

• 6 lasers

• 11 giant searchlights

• 12 wire mesh screens (each as big as the side of a warehouse!) on which light-designs are projected

• 108 dazzling fountains that create the lagoon's dancing waters

• 783 fireworks rockets—a 4th of July celebration every night!

• 550 theatrical and 680 strobe lights

• 5 miles of building-outlining rim lighting

• More than 50,000 lightbulbs!

IllumiNations' theme was international travel, and as the show began pictures were drawn in light over the lagoon, setting the stage for the journey that followed. The classical music selections-recorded by the Toronto Symphony Orchestra delighted the ear as much as the fantasy of lights delighted the eyes.

Then, one by one, the nations around World Showcase changed in appearance through the magic of Disney as the musical score changed with them. Some buildings even appeared to undergo architectural transformations before the audience’s eyes.

The Canadian chateau became a stand of giant fir trees. Germany's Bavarian castle turned into a whimsical gingerbread Gasthaus. France became a cabaret. Kites appeared over Japan, and a dragon travelled across China. The rousing finale combined all the global tour's elements of sight and sound. Even then the colorful lighting effects remained on to offer guests a totally new nighttime adventure at Epcot Center.

If you thought you’d seen it all, the amazing new light of IllumiNations was the experience of a lighttime, nightly at Epcot Center.

In 1978, Card Walker (at the World Congress of the International Chamber of Commerce) announced: “The World Showcase will be a community of nations, the only permanent international exposition of its kind anywhere, focusing on the culture, traditions, tourism and accomplishments of people around the world… a model for true people-to-people exchange, the World Showcase will offer participating nations an opportunity to send their outstanding young adults to operate the attractions, shops, restaurants and exhibits of their pavilions. And these young people who will work, play and learn together for a period of up to one year will help to generate greater international understanding.” The Epcot World Showcase would truly be “a showcase of the world…and a showcase to the world.” Here ”the nations of the world will stand side by side…” and “meet on a coequal basis to communicate on a ‘people to people’ exchange with the more than 12 million visitors.”

According to one Pre-Opening Day c.1982 orientation instructor’s guide : “The familiar faces of the Disney Characters won’t be there.” Instead, EPCOT Center Cast Members would be referred to as the ambassadors of “the spirit of EPCOT Center,” since that very namesake orientation class. Without them, EPCOT Center would just be one magnificent stage. This ambassadorial Cast (in understanding the Epcot dream) would become “the link between the shows and the guest.” According to a souvenir guide, the EPCOT Center Hosts and Hostesses were ambassadors “of happiness, hope, optimism and goodwill.” According to one prospectus: “In this true people-to-people concept, sponsoring nations will be invited to send their outstanding young adults to operate the attractions, shops, restaurants and exhibits of their pavilion.” Proving this were the authentic farcical players of the Comedia Dell’Arte and the Historic Standard Bearers of the District of Cori who helped open the World Showcase on October 1, 1982. Through the World Showcase Festival Program, Epcot Center guests were entertained by performers from all over the world. These “cultural ambassadors” included entertainers representing Greece, Africa, Cambodia, the Dominican Republic, Yugoslavia, Israel and Norway. From Italy, the farcical players of the Comedia Dell'Arte.

The international guests would soon find that the Italy World Showcase Cast Members were knowledgeable and prepared to answer questions about the pavilion and the country itself, and would even provide foreign language assistance, and guest literature in many languages. As early as June of 1980, it was divulged: “Young people will be brought over from their native country on a combination work and education program. Courses with college credit will be conducted at Walt Disney World University.” [“Orlando-Land!” published for June of 1980]

In addition to these, the Streetmosphere program began in the Italy Pavilion with some 60 SAK Theater actors (including C. McNair Wilson, Terry Olson, Herb Hansen). Eventually shows were added to Future World and the United Kingdom World Showcase Pavilion, at a rate of 45 shows a day performed from four areas.

All of these would contribute to a community of nations standing side by side. As Ken Anderson once noted, “I see people getting to know one another better on a scale, and in an environment that makes our similarities more important than our differences… a tremendous way of shrinking the world even further.”

By c.2007, Guests May recall “Disney Characters on Holiday” (DCOH), a group of Characters that performed in several locations in Epcot, entering and exiting on a European double-decker bus. One of their Set Locations was in the Italy pavilion.

“It Looks Like We Started Something - Epcot Center Legacy”

The EPCOT Center World Showcase nearly helped inspire a legacy in WESTCOT Center - “a West Coast version of EPCOT Center, with a Spacestation Earth as its centerpiece, and a World Showcase. It was initially announced in March 1991, to be built where Disney California Adventure was eventually situated.” [Disney Facts Revealed by Dave Smith, 2016] WESTCOT was to include a whole new World Showcase of culture, traditions, tourism, and accomplishments of participating nations. Like EPCOT Center, these would be experienced through a wide variety of exciting shows and attractions, restaurants, and shopping streets unique to the individual nations.

World Showcase nearly had a legacy in WESTCOT Center. Guests would have been transported to the Wonders of WESTCOT themed pavilions. At World Showcase, located around the island, visitors would have explored every corner of the globe at dramatic pavilions of foreign lands. WESTCOT was to include a whole new World Showcase of culture, traditions, tourism, and accomplishments of participating nations. Like EPCOT Center, these would be experienced through a wide variety of exciting shows and attractions, restaurants, and shopping streets unique to the individual nations.

Obviously, the fastest way to move people over the extended areas of a Park is with moving vehicles. "FriendShip" launches crossed the World Showcase Lagoon and readily accommodated guests in wheelchairs and strollers. Buses regularly circled the World Showcase promenade. By 1982, getting around the World Showcase area was made easier with additional transportation, in the form of seven more busses and two new boats with a third under construction.

At the Walt Disney Company, Show Documentation is a “collection of photographic and physical information that captures the creative intent of Disney Parks, Resorts, and Cruise Ships and provides support to Disney teams around the world. Opening day documentation, working drawings, fur and feather swatches, paint draw downs, and many other items are included in this.”

By September 30, 1982, construction was in progress, and WED & MAPO opened jobs DFMA-12 and DFMA-13 (at a cost of $30,558.91) for a “Matterhorn Prototype Vehicle” for Fantasyland in the Magic Kingdom. We are not sure if this is related to the “Swiss Pavilion” in any way.

By August of 1975, the Feasibility Analysis Economic Study was completed for (what was first billed as “Oriental Disneyland”), an area called “International Land” was mentioned. It seems that (much like the original concept for EPCOT Center), Guests of International Land would also have “an opportunity to experience the endless variety of today's community of nations… discover the culture, traditions, tourism, and accomplishments of the participating countries through a wide variety of exciting shows and attractions, restaurants, and shopping streets unique to the individual nations.”

“Prologue - Walt Disney and the People of Japan”

In order to tell the story of the Japan World Showcase, we must begin with the history of the relationship between Walt Disney company and the people of Japan.

The modern art of animation had been around for a couple of decades before Walt Disney embarked on his career as master showman. However, when Walt Disney's Mickey Mouse first appeared, he brought an omiyage (お土産) of joy, happiness, and a universal means of communication to the people of every nation. In his own words, Walt Disney once stated: “Diversity. We must appeal to a far wider range of audience interest than ever before.” Roy testified to the results of Walt’s endeavors to diversify, admitting that “in everything he did Walt had an intuitive way of reaching out and touching the hearts and minds of young and old alike. His entertainment was an international language.” And so, since the beginning (and true to Walt and Roy's words), the hearts and minds of the Japanese audience have taken a keen interest in the work of Walt Disney.

Early products featuring the likeness of Walt Disney’s Mickey Mouse (or “Miki Kuchi”) prove his worldwide appeal during the 1930s, particularly an awareness by Japanese audiences and commercial manufacturers. Many hand-crafted ceramics, bisque figures, “lusterware” tea sets, and mechanized celluloid toys were inspired by the cast of Snow White and the Seven Dwarfs, Mickey Mouse, and Silly Symphonies short films. These were manufactured in Japan and distributed through George Borgfeldt.

In turn, the Disney organization has come to take an active interest in the Japanese culture and market, producing licensed merchandise with the Japanese audience in mind.

Note a rare, early Victor record album release of “Mickey Mouse and Silly Symphonies” exclusively for the Japanese consumer market. While the tracks of the album were similar to the English release, the album sleeve artwork and text was modified for the Japanese audience.

“Japanese Americans Support Walt Disney Productions During the Outset of World War II”

It is of note that notwithstanding the devastating things that were happening in the war-bewildered world, quite a few Japanese-American animators contributed to the production of groundbreaking and memorable Walt Disney Productions from the 1930s to the 1940s. Perhaps in reference to this time, animator Ward Kimball wrote about a handful of contemporary Nisei who worked for the Walt Disney Studios including Chris Ishii, Tom Okamoto, Masao Kawagushi, and James Tanaka.

It is noteworthy to mention that amidst the patriotic fervor swept the nation during World War II, 94 percent of the Disney facilities were engaged in special government work, including the production of training and propaganda films for the armed services, and health films shown throughout the world by the U.S. State Department. The Disney characters "went to war", as pictorials for numerous military organizations. The Walt Disney Studio made a series of films on South America, animation for the Canadian Government selling Defense Bonds, a film describing “Four Methods of Flush Riveting”, films for the Navy Department, and more for the United States Government. Sadly, many of these films contained much anti-Japanese propaganda, including the outstanding Victory Through Air Power.

It is most important to mention that contemporaneous with these, Executive Order 9066 resulted in many Japanese-Americans (even skillful Walt Disney Studio animators like Chris Ishii and Tom Okamoto) unjustly interned in concentration camps across the United States. Few were lucky as Walt Disney Studios Nisei artist Gyo Fujikawa (1908-1998). Even during the outbreak of the war, Gyo became renown for her delicate and profound contributions for Walt Disney Studios from 1939 to 1941, promotional materials for Walt Disney’s Fantasia. Gyo’s family was relocated to Rohwer concentration camp in Alabama, but Walt was able to transfer Gyo to his New York office where she was able extraordinarily managed to avoid the internment. While there, Gyo worked on licensed publications at Disney’s New York Studios.

“Japanese Americans Support Walt Disney Productions After World War II”

Eventually the war ended and as many attempted to adjust to life outside the concentration camps, some Japanese-Americans like Chris Ishii returned to the studio while new artists like Iwao Takamoto were hired by Walt Disney. Iwao went on to become a character designer for Cinderella, Lady and the Tramp, and Sleeping Beauty. Willie Ito (who was also hired after the internment) contributed to the most-memorable spaghetti sequence from Lady and the Tramp.

By the early-to-mid-1950s a number fo talented young women also contributed toward the gorgeous colorful animated productions, including Ink & Paint Department staff - Jayne Tanawa, Kimi Tashima, Peggy Himashida and others, though little is recorded about them.

Overseas, Japanese actors, actresses, and vocalists made contributions unheard of to most American audiences, like popular singer Izumi Yukimura (雪村 いづみ) sang the theme song of Walt Disney's Alice in Wonderland. Their comprised contributions were appreciated by people around the world owing to foreign distribution and translation of motion pictures for the international audiences of in Canada, the United Kingdom, France, Germany, Sweden and Japan.

“The World Meets the True-Life People of Asia - Thailand, China, and Japan”

By 1953, Walt Disney was producing “new explorations in ‘True-Life Adventures’” - People and Places! The first People and Places film - “The Alaskan Eskimo” was released on February 18, 1953. Before the end of that year, the new Buena Vista Distribution Co. was founded and “The Living Desert” (released November 10, 1953) became the first film distributed by the division.

By 1954, Walt Disney had more than 40 photographers at work throughout the world. They were filming True Life Adventure and People & Places subjects in such scattered locales as Australia, the Arctic Wilderness, Lapland, Samoa, Japan, the islands of the sea, Portugal, England, Scotland, Wales and Antarctica. This was to satisfy a factual film release schedule that extended well into 1960. Very soon, more of the interesting people and the exotic locations in which they live would be “visited” by audiences, through films like Alaska, “Siam” (featuring Thailand and one of the first Asian cultures to be represented in the series), Switzerland, and the Arctic.

The following year, the first and second seasons of the Mickey Mouse Club (1955 - 1956) included daily serials, some of which explored people and places around the world. Among these was Japan Correspondent starring George Nagata as the Correspondent, with narration written by Ray Darby. Japanese life was “seen through the eyes of a young Japanese-American boy.” The serial showed how life in a typical Japanese house was different from those of Americans. Other serials depicted Japanese sports and amusement. Despite these differences, the importance of family unity was highlighted as a major factor in daily activities. The individual first season episode titles were “Japanese Excursion”, “Japanese Home”, “Japanese Amusement”, “Japanese School” and “Japanese Sports and Games”. The second season serial was divided into individual episode titles “Japanese Circus”, “Variety Show”, “Dancing School”, “Snow Country” and “Japanese New Year”.

In 1957, Roy O. Disney (of Walt Disney Productions) and Bank of America agreed to to a bank loans in the aggregate sum of $8,500,000 had been made to produce “The Hong Kong Story.” The film was to be the second People and Places film to depict an Asian culture and was in production by April 5, 1957, and the search continued for a distributor. The was the second People and Places film to depict an Asian culture and the first People and Places film to depict the Chinese people and culture. Walt Disney’s People and Places series would expand to include the cultures of Brittany, Wales, Scotland, Lapland, India, Polynesia, the Navajo, Portugal, Morocco, Spain, Sardinia, and Holland.

Finally on July 9, 1958, Walt Disney Productions released the the third People and Places film to showcase an Asian culture - the short film entitled “Ama Girls,” introducing audiences of the world to some of the people of Japan. The film was a success, and Ben Sharpsteen (“Ama Girls” Producer) won an award for Best Documentary Short Subject of 1958.

Two years later Walt Disney’s People and Places released the short film “Japan.” Subsequently, the two educational color, short film reels were released for sale to the public (at $12 each), entitled “Japan” (27 minutes) and “Japan Harvests the Sea” (29 minutes). To quote one catalogue: “these films depict the human family in its infinite variety of habits, effectively emphasizing their human relationships, customs and traditions. You'll learn about the land where… Japanese girls who spend a lifetime diving beneath the sea to harvest a crop… These are only a sampling of the fascination you’ll encounter in all of these award-winning subjects.” Walt Disney Studio animator Bill Justice reflected on the invaluable True Life Adventures, expressing: “we learned to… understand other nations.”

About this time (October 1959), Disney activities were “as globe-girdling as those of almost any U.S. industrial company. Its cartoon characters, for instance” were “licensed in 31 nations.” Disney was also utilizing the built-in exploitation features of its products to boost profits of its foreign operations (including those of Japan). The country would also receive Walt Disney Productions.

“The Japanese People - Supporting the Disneyland Show Since 1955”

Meanwhile, Walt Disney’s Disneyland had opened in July of 1955. On that historic day, Walt Disney read aloud these words: “To all who come to this happy place: Welcome. Disneyland is your land.” While some anti-race sentiments prevailed in the world, Walt Disney and company recognized a need to prepare their carefully selected Hosts and Hostesses. This was partially accomplished through the now antiquated “Your Role in the Disneyland Show” orientation books published 1955, which instructed “Disneylanders” to provide guest service to all people in a section titled “Meet the King of our Magic Kingdom”. Page 6 reads: “This guest may be male, female; old or young; black, white, brown, or yellow. He may be Christian, Jew, Buddhist, or Hindu; Republican or Democrat; show-off or wallflower; big shot or small; rich or poor; healthy or unhealthy. But from the moment his car turns into the Disneyland parking area until he leaves, he is our guest. And he or she is the most important person in the world to Us.” So, it was up to each courteous, considerate host to leave their troubles and prejudices outside of the Disneyland berm and preserve this Disney Tradition in the Magic Kingdom. The result was that Disneyland gained “a world wide reputation for COURTESY, CLEANLINESS, AND... GOOD OLD FASHIONED FRIENDLINESS.”

Soon as the gates opened, visitors from every continent, country and state felt welcomed to flock to Walt Disney’s Magic Kingdom - including both native Japanese and Japanese-American Guests! One of the earliest and most-notable Japanese Guests to be reported on was Miss Japan Keiko Takahashi (who visited with Miss Universe contestants) according to “The Disneyland News” (March 10, 1956 ; Vol. 1 No. 9). Photographer Mel Kilpatrick captured her visit as she received a personal ride aboard the Autopia with WED Enterprises engineer Bob Gurr at the wheel [Design: Just for Fun by Bob Gurr]

A few years later, both Prince Akihito and Princess Michiko of Japan visited Disneyland on their honeymoon in 1960. By 1961, “Anaheim... Future Unlimited” published by the Anaheim Chamber of Commerce, commented: “There isn't a corner of the world that hasn't heard of Disneyland . . . visitors have come to the Magic Kingdom from all 50 states in American and more than 100 foreign lands!”

Not long after this popular musicians, stars of stage and screen, and many other VIPs from Japan continued to flock Disneyland, and some of these visits were reported on, like Japanese singing sensation Kyu Sakamoto in August 1963.

“Japanese Guests & Organizations Support the Show” - Walt dedicated Disneyland, stating that: “Disneyland is your land” (ディズニーランドはあなたのものです。) True to Walt’s words, the introduction of Private Parties made it possible to roll out the red carpet for a Niesi Veterans Re-union that was held at Disneyland in 1958. Other Japanese-American organizations and groups immediately became proud supporters of the Disneyland show in other ways.

For instance, during 1959, The eventful 24-hour “Gala Day At Disneyland” was highlighted by one of the most colorful parades staged anywhere. A spectacular array of dance groups, bands, and variety performers from Japan, Scotland, Greece, and many other nations served up “a scintillating portion of top entertainment.” Among these units was Kansuma Kai (which was notably overseen by the outstanding dance master Madame Fujima Kansuma of Little Tokyo in Los Angeles). The troupe also provided Disneyland with decorative floats for the Parade of All Nations portion of the Annual Christmas parade, on Sunday, December 16, 1962. Even during this early era of Disneyland history, it was not uncommon to see such a strong Asian and Pacific Island presence (e.g. L.A. Chinese Drum and Bugle Corps led by Hayward Tom, the India Art Group lead by Miss Sushila Janados, and the Korean Danco Group of Los Angeles lead by Phil Kim; each contemporary Disneyland entertainers of Kansuma Kai).

Another organization who participated in shows at Disneyland was the esteemed Tokuyae Classical Dance Group of Los Angeles (notably overseen by classical dancer Hanayagi Tokuyae; a member of Nihon Buyo Kiyokai, the Performing Arts Federation of Japan; the first Japanese American permitted to recommend future natori). Tokuyae Classical Dance Group of Los Angeles often performed as participants in celebratory and seasonal Disneyland parades and events during the 1950s and 1960s. In the photo above, they can be seen carrying wagasa.

“It’s a Small World of Japan”

There was a small amount of influence by Japanese culture or involvement of Japanese people for the presentation of It’s a Small World at Disneyland. In preparation of the show, the “Small World” title tune was recorded, with several tracks laid by several groups around the world, including one featuring “plain kids” in Tokyo. Artists and designers included Japanese architectural elements among the International gateway facade of the show building. According to the It’s a Small World Disneyland Pictorial Souvenir, artists shopped the stores of Little Tokyo district in Los Angeles for “colorful paper balloons and plastic fish.”

Finally, on May 28, 1966, just before the attraction opened, the members of the Tokuyae Classical Dance Group of Los Angeles were among those invited to join in the historic opening-day festivities for Its a Small World at Disneyland.

Then, Disneyland Guests were first entertained by the captivating sounds and sights of 350 figures and dolls representing the children of the world. In the attraction, Japan was represented by “kimono-clad playmates who bow ‘good-bye’ to passing boat from high atop a Tori gate.”

Japanese Hosts & Hostesses Support the Show - Disneyland Guests were often welcomed by a number of Japanese-American Hosts and Hostesses who fulfilled roles as Cast Members of the Disneyland Show. For instance, by Disneyland’s Tencennial celebration and beyond, there were many exemplary Japanese-American women supporting the Disneyland Show as Guided Tour Hostesses. The foremost of these included Reiko Cox - who was the first Japanese-American Guided Tour Hostess. Reiko had a supporting role at the dispatch tour desk selecting girls for tours, Main Gate Service, and for buses, forming the tours in the garden, and keeping the show going with a smile.

By the time that Japan was represented within it's a small world at the New York World's Fair, the humble number of Japanese-American Guided Tour Hostesses had grown into an impressive roster of Issei, Nisei, and Sansei that included Masako Naganuma, Sachiko Koike, Tomoko Omori, Yuki Saito, Alice Shinmoto, Chise Sakamoto, and Yoko Ubukata (to name just a few). Along with English, some of these would communicate with guests in Spanish, French, Italian, German, Dutch, Chinese, Swedish, Danish, Norwegian, Finnish, Portuguese, Greek, and of course, Japanese.

“Japanese Hosts & Hostesses Supporting the Show Onstage and Backstage”

From the 1960s and beyond, many other Japanese-American hosts and hostesses supported the Disneyland show in other capacities. Across Disneyland On Stage, there was Yuki Sechi (of Main Street), Aiko Martello (of the Pavilion), Karen Uyeno (of Fantasyland), Shirley Kobayashi (of Storybook Land), Bob Nezu and Hiro Yasuda (of Tahitian Terrace), Marilyn Wada and Terri Kakuda (of Walt Disney’s Enchanted Tiki Room), Kazugo Yamashita (of Tomorrowland Foods), Ken Fujimura, Sandra Yamashiro, Kathy Nitta, and too many other important people to mention.

Backstage, there were people like Atsuko Kutama (Costuming seamstress), Kimi Kawamura, Mina Temamura (Wardrobe-Costuming), Georgia Osumi (Operations) and Karen Matsuoka contributed to the operation of the show.

Behind-the-scenes (and in 1965), perhaps the foremost of these Japanese-Americans among the Cast would soon revolutionize the cuisine and menus of Disneyland restaurants for two decades. Yes, a Hawaiian native named Hideo “Indian” Aramaki joined Disneyland.

“Japanese Hosts & Hostesses Supporting Walt Disney Productions”

Meanwhile, over at the Walt Disney Studios, many Japanese actors and actresses supported Walt Disney Productions including vocalist Fujiko Yamamoto and Sessue Hayakawa (who played a villainous pirate captain in Swiss Family Robinson).

“Disneyland Diplomacy - The Ambassador of Disneyland Visits Japan”

While these welcomed Guests to Disneyland, the first Disneyland Ambassador represented Disneyland during the Tencennial Celebration on goodwill tours to Europe, Canada, Australia, New Zealand, and Japan. While in Japan, “Julie visited the Mayor (called Governor) of Tokyo. She also visited the Ministers of Welfare and Education… She told the story of the Magic Kingdom and invited all those present to visit Disneyland as the guest of Walt Disney. After several days in Tokyo, Julie went to Osaka and Nagoya to round out her Far East trip.” There is no doubt that this diplomatic trip furthered the relationship between Walt Disney Productions and the Japanese audience.

That very same year of 1965, Mary Poppins was released in Japan and it was reported (in the “Walt Disney Productions Annual Report” of 1965, prepared for shareholders and employees): “Following the lead of Emperor Hirohito himself, the people of Japan are flocking to see Mary Poppins in its first play dates at Tokyo and Osaka. Along with other members of the Imperial family, the Emperor and Empress attended the Charity Premier of Poppins, where audience reaction was great. The Emperor and empress were highly pleased.” Only a short time later, Japan ranked first among countries other than the United States, in sales of Disney products.

“We Keep Moving Forward, Opening Up New Doors”

Meanwhile, reports from around the globe indicated that a trio of Walt Disney screen productions were living up to their predicted success. Among these, the 1967 SuperScope version of “Fantasia” was enjoying new acclaim and popularity in Japan (depicted above)! By 1972 Walt Disney Production's film distribution program still benefited from an increasing public demand for the reissue of classic Disney films, like “Pinocchio” in Japan.

After the worldwide oil crisis, the Japanese economy had shown a smooth recovery compared to other countries, improving the standard of living, increasing the leisure time of the people in society, developing education and increasing the number of new generations. The people of Japan also seemed to increase their desire for a wealth of new entertainment and recreation. The number of Japanese visitors to Disneyland had reached hundreds of thousands, demonstrating its popularity! Soon more VIPs of note made their way to Disneyland - Princess Atsuko (1971), and former Prime Minister Eisaku Sato (February, 1973).

Then came a historic event during the American Bicentennial celebration of 1976, when their majesties Emperor Hirohito and Empress Nagako of Japan visited Disneyland the first visit to the USA. Hideo “Indian” Aramaki recalled the honor of cooking for the Emperor and Empress on this occasion. This trip was historic for several reasons. First, the Lilly Belle Presidential Parlor Car was unveiled for its first passengers - Japanese Emperor Hirohito and his wife. The visit of the Emperor and Empress “set the stage” for an exciting new relationship between Walt Disney Productions and the Japanese audience, opening doors to new magical opportunities!

“FESTIVAL JAPAN at DISNEYLAND”

One such opportunity was a traditional program called “Festival Japan.” The First AnnualFestival Japan at Disneyland was held March 27th, 1977. This traditional celebration annually brought “traditionally attired dancers, cultural exhibits, crafts people, and entertainers from Japan” to Disneyland, from the late 1970s to the early 1980s. Among these was the aforementioned Tokuyae Classical Dance Group of Los Angeles who was still a Disneyland Participant after three decades.

The second Festival Japan Family Fun at Disneyland event was held on April 8 & 9, 1978. Later that year, Sunao Sonoda, minister of foreign affairs for Japan visited Disneyland in September.

The 3rd Annual Festival Japan was held March 31st and April 1st, 1979.

During the following years, the event was held earlier, in March 22 & 23, 1980, and March 28 & 29, 1981.

By this era there were many Japanese Americans among the multi-cultural staff contributing to this and other aspects of the Disneyland show. Unseen were the Backstage Seamstress-Fitters and Costuming staff members like Yoriko Hiramoto and Jackie Sakamoto.

“Prince Hiro's more conventional visit in October of 1982 completed three generations of Japanese royalty who have visited Disneyland. His parents, Prince Akihito and Princess Michiko, toured in 1960 and his grandparents, Emperor Hirohito and Empress Nagako, visited the Park in 1975.”

Festival Japan continued even after Japan World Showcase opened in EPCOT Center at Walt Disney World. The seventh annual (and final edition of) Festival Japan was grand! The special edition of “Festival Japan,” coincided with the 30th anniversary of Disneyland on (held October 12 & 13, 1985, from 9am to 9pm). The event brought “500 traditionally attired dancers, cultural exhibits, crafts people, and entertainers from Japan performing on the Small World Stage.” Among those was the aforementioned Tokuyae Classical Dance Group of Los Angeles, a tradition after three decades of performing at Disneyland! Another VIP of note - Prince Naruhito of Japan - also visited in October.

During January of 1987, the Honorable Yataro Mitsubayashi, Minister of State, Science and Technology, visited Disneyland. The following year, His Excellency, Mr. Markoto Taniguchi, Japanese Ambassador to the United Nations visited during September of 1988.

“Made in Japan - Japanese Merchandise Representatives and Manufacturers Support Walt Disney Productions”

Back in 1955, Walt Disney Productions was conducting character merchandising through a domestic division and foreign agents. In fact, by that year, 740 companies were making nearly 3000 items featuring Disney characters. After the opening of Walt Disney’s original Magic Kingdom, shops and catalogs offered “fabulous gifts from Disneyland.” Many of these gifts were manufactured by the multi-talented craftspeople of Asia. There were hand-embroidered decorations from India, Tabis (toe-socks) and Sandals from Hawaii, woven Chinese “carry-alls” from Hong Kong, shelves from China, and ceramics from Korea. There were (of course) a multitude of products manufactured in Japan.

An unknown amount of Walt Disney Productions licensed merchandise was manufactured in Japan and distributed by American Corporations for sale exclusively through Disneyland and Walt Disney World. Among these were were automated tin lithographic toys, eraser sets, pocket knives and multi-tools, necklaces, dolls, the Secret Panel Chests (pictured below), and those memorable souvenir hand-painted wagasa (traditional bamboo and paper parasols). You may recall ceramics of Donald Duck distributed by Dan Brechner or porcelain figures of Tinker Bell distributed by Wells of England, each one skillfully crafted by the people of Japan. Perhaps you recall those small American flag pins that were distributed to cast members for the Fourth of July celebration of 1969 and up to the American Bicentennial celebration. Each one arrived at Disneyland with stickers on the back reading “Made in Japan“.

Official licensed products carried the Walt Disney Productions copyright note and occasionally a stamp indicating manufacture in Japan. The Small World stand opened with merchandise from Germany, Kenya, and Japan and other countries.

Many Japanese Americans supported the licensing and production of Walt Disney Productions licensed merchandise. However, a few individuals and organizations were involved in unlicensed reproduction for personal gain. For instance in 1961, Kunizo Matsuo’s Nara Dreamland opened in Nara Prefecture, devoid of Walt Disney Productions’ intellectual properties, but including many attractions inspired by Walt Disney’s Disneyland. This park did not have the approval of Walt Disney Productions and would lend a hand in what happened next.

That very year of 1961, Walt Disney Company Merchandise Representative Matsuo Yokoyama was hired in to help establish Disney’s copyrights in Japan. He did so and helped to create the Disney Licensing Association limiting the amount of licensed Disney products manufactured in Japan during the 1960s and 1970s, and assuring the value of Disney products. This arrangement synergistically benefitted numerous Japan-based manufacturers like Louis Marx and Company and Masudaya Modern Toys.

“WALT DISNEY PRODUCTIONS’ FIRST FOREIGN PARTICIPANT SPONSOR - KIKKOMAN OF JAPAN”

Meanwhile, another magical opportunity led to the first official Disneyland sponsor with headquarters in a foreign country - Japan!

Now, Disneyland Participant Corporate Sponsors were carefully selected. High quality, long term corporate sponsors would provide incremental income that enabled Disneyland to enhance its show and attractions, offset some operating expenses, and capitalize on marketing opportunities. Disneyland had also always been sponsored by predominantly vintage turn-of-the-century (or older) companies. Tahitian Terrace’s newest sponsor of the 1980s was no exception.

In later years, the Tahitian Terrace was presented with a proposal for a new Disneyland Participant - the 300 year old Kikkoman Int. Inc.of Japan! “Few people realize that Shoyu (soy sauce) is undoubtedly the world’s oldest prepared condiment”, according to Vacationland magazine (Summer, 1980). The process of naturally fermented blend of soy beans and recipe of salt, wheat, and traditional brewing methods actually has its start in Noda, Japan, during the 17th century, long before Disneyland existed! Kikkoman Shoyu Company was only incorporated in 1917.

More than sixty years later, on Wednesday, June 14, 1978, Kikkoman Shoyu Company President S. Mogi visited Disneyland to welcome visitors. This was a huge event as Kikkoman became the first official Disneyland sponsor with headquarters in a foreign country!

“Project Florida - A Whole New Disney World”

Back on December 15, 1966, Roy O. Disney, Walt Disney Productions President and Chairman of the Board addressed the employees of Walt Disney Productions: “Walt Disney's preparation for the future has a solid, creative foundation. All of the plans for the future that Walt had begun - new motion pictures, the expansion of Disneyland, television production and our Florida and Mineral King projects will continue to move ahead. That is the way Walt wanted it to be… Last October when he accepted the ‘showman of the World’ award in New York, Walt said, ‘The Disney organization now has more than four thousand employees. Many have been with us for over thirty years. They take great pride in the organization which they helped to build. Only through the talent, labor and dedication of this staff could any Disney project get off the ground. We all think alike in the ultimate pattern.’”

“Project Florida - A Whole New Disney World,” published 1967 by Walt Disney Productions, radiating from EPCOT'S towering theme building, located at the very heart of the city, was to be an International Shopping Area. “Depending upon which direction he takes, the inquisitive shopper might find himself in a British square, a Scandinavian or Asian market place, or a South American plaza. Imported merchandise, foreign cuisine, dinner shows and roving entertainers native to many lands will make the international shopping areas a must-see for residents and tourists alike.“

Those responsible for developing EPCOT at Walt Disney Productions were inspired by the World’s Fairs as the New York World's Fair of 1964-65 and most recently the Japanese Fair at Osaka in 1970. The “Annual Report 1976 Walt Disney Productions“ particularly noted the impressive “participation of industry and presentation of the marvels business enterprise has produced.”

Unlike a world's fair, EPCOT's World Showcase was to “be a permanent international exhibition. No nation's exhibit or restaurant or product displays will be ‘torn down’ after one year or less-the standard requirement at world's fairs. Instead the one-time construction costs will go on working for a country for many years at Walt Disney World. Here the nations of the world will stand side by side in two semicircular buildings. This semicircular design not only will offer equal exposure and public access for each nation...but will also function as an interrelated series of experiences for every guest. for the entire complex of attractions and exhibits will be tied together by a Disney people-moving system that will also offer visitors a ‘preview look’ into each country's pavilion.”

The Ten Year Master Plan of Walt Disney World also included exciting research and development of new resort hotels. Other international-themed resort hotels (as seen in Paul Hartley’s artwork and concepts produced by Welton Becket & Associates, pictured above) were planned for the lagoon shores during latter periods of the Phase One plan.

However, one “Preview of Walt Disney World” prospectus would soon announce: “‘While five theme resorts are planned, only two will be built in time for the opening of Walt Disney World, near Orlando, Fla., in October, 1971,’ says John Curry, director of the Walt Disney World Co., hotel division… First two to open are the Contemporary Theme Resort, on the lake, and the Polynesian Theme Resort, on the lagoon. Contemporary will be the convention flagship hotel with major convention and exhibit space. Other theme resorts include the Asian, the Venetian and the Persian. Each of the hotels will have meeting space most likely below the lobby level… Each resort will have a specialized design motif, food specialties, dining room menus, recreation activities, entertainment, interior decor and employee costumes. Resorts will offer nightclub entertainment and dancing. Motion pictures and stage shows will be presented in nearby theaters.”

“The Experimental International Prototype Community of Tomorrow”

By 1975, “the need for an Experimental Prototype Community of Tomorrow… was[sic] even greater than when Walt Disney first began talking about it in 1965.” The Experimental Prototype Community of Tomorrow was to feature a living community where American Industry would always be introducing, testing and demonstrating new techniques and systems designed to enhance the quality of urban life. EPCOT was always to be a showcase to the world community. And so the author of one c.1975 prospectus stated: “Now, more than ever, our world needs a focal point a forum where creative men and women of science, industry, government and the arts from around the world can present new ideas and technologies... stimulating new concepts that will enable both the leaders of the world and the general citizenry to better understand the great challenges facing people around the world…and the possible solutions to these great challenges.”

Soon, the second Phase of Walt Disney World was being planned - EPCOT Center. According to one EPCOT Center’s instructor’s orientation guide, one objective set out for EPCOT was “to be a ‘permanent international people-to-people exchange’. . . advancing the course of world understanding among its citizens. What we are doing now is creating a public focus. . . a ‘center’ for the communication of what is being done. . . made directly to the public in ways they will both understand and enjoy. Our goal through EPCOT Center is to inspire our guests who come here, so that they will be turned on to the positive potential of the future and will want to participate in making the choices that will shape it. In short, we believe that EPCOT Center will establish a new level of entertainment and equally important, education for families and people of all ages from all lands. . . and that EPCOT Center will give people hope that there are solutions to all the problems that exist in the world today. . . and that there truly can be understanding among nations.”

One Walt Disney World Showcase prospectus added: “Here the nations of the world will meet on a coequal basis to communicate on a ‘people to people’ exchange with the more than 12 million visitors to Walt Disney World. Here young people from all over the earth will come to operate the attractions of their native lands… to serve the distinctive foods and to demonstrate and sell the unique merchandise of their home countries. Unlike a world's fair, EPCOT's World Showcase will be a permanent international exhibition. No nation's exhibit or restaurant or product displays will be ’torn down’ after one year or less-the standard requirement at world's fairs. Instead the one-time construction costs will go on working for a country for many years at Walt Disney World.”

A prospectus (entitled “EPCOT Center… People Bring It To Life”) opens by describing how the World Showcase was one of two principle themes of EPCOT Center, as it “be a ‘Community of Nations,’ the only permanent international exposition of its kind anywhere, focusing on the cultures, traditions, tourism, and accomplishments of people around the world.” Initial show master-planning and conceptual development resulted in EPCOT Center World Showcase presentations that were “80 per cent World Showcase and 20 per cent EPCOT. Since then, we’ve evolved to the place where there’s maybe 80 per cent EPCOT and 20 per cent World Showcase. I think now we feel we’re at a point where we know what EPCOT and World Showcase are going to be. The two projects will work together and compliment each other,” according to a statement by Jack Lindquist, in which he discussed EPCOT Center plans. Herb Ryman created c.1965 suggestions for Walt Disney’s Progress City and “enclosed shopping areas… representing countries of the world.” According to another prospectus, “The World Showcase comprises the southern half of EPCOT Center where at least ten participating countries will stand side-by-side in friendship along the banks of a broad lagoon… The participants in this first phase of World Showcase include United Mexican States, Japan, Federal Republic of Germany, United Kingdom, French Republic, United Arab Emirates, Italian Republic, Canada, State of Israel and Morocco. Disney Imagineers are now working with government or business interests from these countries to achieve a unique and meaningful showcase for each nation.” Surely any wanderlust was sure to be satiated through the Epcot Center World Showcase.

By the time the 1976 Shareholders Report was prepared, Walt Disney Productions had been “testing the market” for our concepts for EPCOT and the World Showcase. They had presented their idea for a permanent international exposition - The World Showcase -to representatives of 31 nations of the world, opening doors from Manila to Moscow. In Mexico City, E. Cardon Walker, President personally had the honor of presenting World Showcase concepts to two Presidents of Mexico, “then” President Echeverria and then-current President Jose Lopez Portillo. Donn Tatum and other members of the Disney team had introduced World Showcase to Kings, Queens, Ambassadors, Foreign Ministers, and industry leaders around the world. As Walt Disney Productions went to press, their marketing staff continued to pursue these contacts and was negotiating specific contracts with more than half a dozen nations.

In a number of cases, the creative staff at WED Enterprises had developed a complete pavilion concept for major nations. Each of these pavilion concepts included a high-capacity show-attraction, a restaurant serving food unique to the individual nation, a shopping “street” featuring the country's distinctive merchandise, and an area where travel to the country and products of the country were to be presented and promoted.

The “Walt Disney Productions Annual Report 1978“ briefly described the Japan Pavilion for shareholders and employees: “A traditional wooden archway marks the entrance to this pavilion. A carrousel theater show, ‘The Winds of Change,’ will be located just past a ceremonial temple bell and an ornately-decorated pagoda. The four-act show features Audio-Animatronics figures and film. A section of the Ginza, Tokyo's famous nighttime shopping and entertainment district will also be a part of the pavilion.”

Walt’s people and company were now embarking on “imagineering” a new, grander “theme show” for Florida audiences. The latter expression (“theme show”) was once defined as: “A controlled, usually man-made environment where as many as possible elements pertain to a single fictional or non-fictional motif. Thus, an individual placed within that environment may consciously or subliminally experience it.” But even more (as one sanctioned statement elaborated): “We are talking about all the things a guest may experience and be entertained by - colors, sounds, lights, detail - timing, taste and texture. Through art and animation, our imagination, creativity and talent blend together to make our ’show.’”

Walt Disney once said: “The whole thing here is the organization. Whatever we accomplish belongs to our entire group, a tribute to our combined effort.” In step with Walt’s philosophies, what was described as a “complex and highly diversified team” of individuals (among the Project Management and the Project Team) would coordinate and translate the concept of EPCOT Center into a reality. The microcosm that would be the Japan pavilion would be Imagineered by the collaborative contributions of writers, designers, artists, film makers, engineers, sculptors, and builders, in addition to committees of foreign nationals, representatives of corporations and governments.

Marty Sklar recollected (in “One Little Spark! Mickey’s Ten Commandments and The Road to Imagineering”: “I had spent eight of my eventual fifty-four years at Disney leading the Imagineers in developing the concepts, playing a key role in convincing the major corporate sponsors to make Epcot a reality, and producing the myriad of shows and stories that attracted more than ten million visitors to visit Epcot in its first year.”

These were lead by Project Director Jim Nagy, EPCOT Center World Showcase Japan Project Manager Jim Wolford, Allen Moyer (Resident Engineer), Jerry Hunt (BVCC Project Manager), John Moore (Tishman Project Manager), Pete Rahill (Pico Coordinator), Joanne Fernholz (Project Business Administrator), and Linda Nations (Project Planner), with the help of General Contractors Palmer-Smith Company, Inc.

Walt Disney World Shops would employ disciplines found at MAPO, supporting MAPO with in construction manufacturing.

The Showcase Area Development Landscaping Team was comprised of Don Hughes (Project Manager), Bill Coan(Resident Engineer), Jim Franklin (BVCC Project Manager), John Payne (PICO Coordinator), Joanne Fernholz(Project Business Administrator), and Dave Yanchar (Project Planner). [“Epcot Center - People Bring it to Life,” prepared by WED/MAPO, c.1980]

By this time, the current preliminary concept for the Japan World Showcase Pavilion was described the following way:

“The entrance to the Japan Pavilion is marked by traditional wooden archway located along the shoreline of the World Showcase lagoon. Guests will walk past a ceremonial temple bell and an ornately decorated pagoda before arriving at the pre-show area for a carrousel theater show entitled ‘The Winds of Change.’ Through the magic of Disney Audio-Animatronics and film, this four-act show traces the major influences of Japanese culture from the earliest Chinese visitors to the present. The show concludes with a multiple screen film presentation depicting modern Japan’s vast manufacturing outpost and its impact on the rest of the world. Exiting the carrousel theater, guests will be greeted by neon lights and music typical of the Ginza, a recreation of downtown Tokyo’s famous nighttime shopping and entertainment district. From the Ginza, guests ramp down to the first floor display and merchandise areas where products such as pearls, ceramics, bonsai trees and time-keeping devices are available for purchase. The shops sponsored by Japanese companies, will be situated on a pedestrian ‘street’ and will feature architectural theming as well as the finest quality in Japanese products. A major department store will feature merchandise on the first floor, a teppanyaki restaurant on the second floor and a VIP tea garden on the third floor.”

As for the firms which would sponsor these attractions, “Jack Lindquist, Vice President of Marketing for Disneyland and Walt Disney World… [headed] up our team responsible for lining up participants for EPCOT and World Showcase,” according to Disneyland LINE Magazine. By 1978, at least five companies - Mitsukoshi Ltd., Seiko Time Corp., Japan Airlines Co. Ltd., K. Mikimoto & Co. Ltd., and Noritake - officially notified Jack Lindquist of their intention to participate in the Japan Pavilion World Showcase at EPCOT Center. When Epcot Center opened in 1982, there were 34 merchandise locations, some of which were supported by these sponsors in the Japan World Showcase. It is notable to mention that during these early years, it was commonplace for merchandise locations to stock General Merchandise - non -character and/or decorative items, including film and sundries.

The aforementioned “The Spirit of EPCOT Center” c.1982 instructor’s orientation guide introduces the Japan Pavilion the following way :

“The brilliant, Red Torii gate and a five-story pagoda welcome guests to Japan. A visit to Japan might begin in theYakitori House, a small restaurant offering traditional Japanese Yakitori. . . bits of beef, skewered, basted, and simmered.

The merchandise and food locations in the Japan pavilion are operated by Mitsukoshi. One of the largest retail firms in the world, Mitsukoshi has been in business since 1673. Tempura Kiki, a small corner for the main restaurant, is devoted to the batter-dipped chicken, beef, seafood and fresh vegetables.

In the five Teppanyaki Dining Rooms, it’s possible to sample a traditional style of tableside cooking.

Shrimp in cocktail sauce and crab meat in a tasty rice vinegar sauce are among the appetizers available in the Matsunoma Lounge.”

While a four-act presentation of film and Audio-Animatronics wizardry was planned, the Japan Pavilion opened with the Mitsukoshi Department Store (inside the Grand Shishinden Hall), Teppanyaki Dining Rooms restaurant, Yakitori House restaurant, and the Mitsukoshi Restaurant (featuring Japanese master chefs performing “culinary magic and spell-binding table-side presentations”), the exterior of which is surrounded by paths through tranquil bonsai gardens of old Japan.

The EPCOT Center World Showcase almost had a legacy in WESTCOT Center - “a West Coast version of EPCOT Center, with a Spacestation Earth as its centerpiece, and a World Showcase. It was initially announced in March 1991, to be built where Disney California Adventure was eventually situated.” [Disney Facts Revealed by Dave Smith, 2016]

EPCOT Center Cast Members have been referred to as “the spirit of EPCOT Center” since that very c.1982 namesake orientation class. Without them, EPCOT Center would just be one magnificent stage.

“Master Planning Japan World Showcase”

"I don't want the public to see the world they live in while they're in the park. I want them to feel they're in another world.” -Walt Disney. Nestled between a stretch (of more than 40 miles) of canal, a perimeter road, a service road, and the shores of the World Showcase Lagoon Promenade, is the EPCOT Center Japan World Showcase. Everything in the EPCOT Center Japan World Showcase would be to this theme and atmosphere from this particular time, place and subject. A themed motif would be incorporated into every aspect of operation (e.g., room décor, menus, attractions and costumes).

アトラクション

Several attractions (アトラクション) were master planned for the Japan World Showcase. Show models were prepared, depicting the Japan World Showcase attraction's show elements, such as it’s figures and stages. This photographic Show Documentation captures the creative intent. Many necessary changes were made. For instance, Harper Goff recalled: “When the Japanese looked at the design for their pavilion, they criticized us for using Chinese-style buildings. We had to change them to buildings that were distinctly Japanese, like the seventh-century Horyuji pagoda and the Shishinden Palace in Kyoto.”

At least one concept for a theater show was prepared by Harper Goff consultant of styling and design. Therein the theater, four Hokusai murals come alive with the story of how Japan came to be.

“A Magical Journey Through the Wonders of Japan’s Heritage”

Then there was “The Winds of Change.” During the late 1970s, Konosuke Matsushita (of Matsushita Electric Industrial Company) was approached to contribute toward Tokyo Disneyland. At the time, Matsushita had expressed an interest in the historic figures of Walt Disney World’s hall of Presidents, as well as a desire to tell a story of Japanese history. Incidentally, Walt Disney Imagineer Claude Coats had been working on a theater show called “The Winds of Change” that would incorporate audio-animatronics of important figures of the past in a story of Japan’s history.

The attraction was constructed for EPCOT Center, but the show building could not support the weight of the attraction. So it was decided to install the show at Tokyo Disneyland. The attraction had more than thirty Audio-Animatronics figures, all of which were sculpted by Blaine Gibson, except for three Meiji figures which were by a Japanese sculptor from Tokyo’s Toho Studios. A theme song was composed and written by Richard and Robert Sherman. Matsushita Electric paid for part of the attraction, subsidizing cost, and creating a “free attraction” similar to what happened to previous Disneyland attractions. “Meet the World” opened, presented by Participant Sponsor Japan Airlines.

Drawings depict Mitsukoshi prepared to house sales and display areas, Mikimoto, Seiko, Noritake, “N.E.C.”, “J.A.L.,” Matsushita’s “The Winds of Change,” and another display (utilized for storage).

“Mount Fuji”

There are thousands of mountains in the world. There is only one, indelible Fujiyama. Naturally, other master plans would involve a Mt. Fuji-themed attraction. The pictures feature tandem-style vehicles (similar to Space Mountain rockets) passing traditional torii gates, Komainu lion dogs, and legendary Kami spirit encountered before a drop-off over the World showcase Lagoon.

Today Concept Development Team members, a Show Producer, Writer, and Artists develop a High-Concept into a full Story. Using a technique referred to as story-boarding the team repeatedly expands upon the initial concept, developing scenes, characters and content necessary to convey the Story. During the concept development of the Japan Pavilion, Clem Hall prepared two-dimensional, rough, thumbnail story sketches outlining the story concept. Some of the vignettes (incidents in scenes and sequences) were illustrated. Clem’s artwork depicted tandem-style vehicles (similar to Space Mountain rockets) passing traditional torii gates, Komainu lion dogs, and legendary Kami spirits encountered before a drop-off over the World showcase Lagoon.

Tandem vehicles (similar to those of Space Mountain) would carry guests through the adventure.

After the story was conveyed, the tools of estimating and scheduling begin to assist in defining the projects total scope. It is unclear whether the concept was disapproved or the approved concept was thoroughly evaluated and deemed to costly, risky, and overall technically unfeasible. At some point, this concept was no longer explored, defined or tested for potential story elements.

By the time the preceding document was prepared, several companies notified developers of their intention to participate in the Japan Pavilion in World Showcase at EPCOT Center, including Mitsukoshi Ltd., Seiko Time Corp., Japan Airlines Co. Ltd., K. Mikimoto & Co. Ltd., and Noritake Co., Inc.

Notably, a motion picture experience was also in the “preliminary design” stage. “Guests will walk past a ceremonial temple bell and an ornately decorated pagoda before arriving at the pre-show area for a carrousel theater show entitled The Winds of Change. Through the mage of Disney audio-animatronics and film, this four-act show traces the major influences on Japanese culture from the earliest Chinese visitors to the present. The show concludes with a multiple screen film presentation depicting modern Japan's vast manufacturing output and its impact on the rest of the world.”

This show was further developed and by October 5, 1982, Walt Disney World EPCOT Center News Brief divulged: “In keeping with Walt's vision of a ‘community of tomorrow that will never be completed,’ Epcot Center's continued growth also will include additions to existing attractions. Additional shows and ride attractions are also being planned for several World Showcase countries; including Germany, the United Kingdom, Italy and Japan. Japan's added attraction, ‘Meet the World,’ is a carousel theater presentation featuring ‘Audio-Animatronics’ characters in settings that depict the nation's history and spirit. The presentation, in which the audience seating area will revolve around the stage, premieres at Epcot Center in October 1983. The show will be similar to a Tokyo Disneyland presentation opening in the spring of 1983.”

In 1978, Card Walker (at the World Congress of the International Chamber of Commerce) announced: “The World Showcase will be a community of nations, the only permanent international exposition of its kind anywhere, focusing on the culture, traditions, tourism and accomplishments of people around the world… a model for true people-to-people exchange, the World Showcase will offer participating nations an opportunity to send their outstanding young adults to operate the attractions, shops, restaurants and exhibits of their pavilions. And these young people who will work, play and learn together for a period of up to one year will help to generate greater international understanding.” The Epcot World Showcase would truly be “a showcase of the world…and a showcase to the world.” Here ”the nations of the world will stand side by side…” and “meet on a coequal basis to communicate on a ‘people to people’ exchange with the more than 12 million visitors.”

According to one Pre-Opening Day c.1982 orientation instructor’s guide : “The familiar faces of the Disney Characters won’t be there.” Instead, EPCOT Center Cast Members would be referred to as ambassadors of “the spirit of EPCOT Center,” since that very namesake orientation class. Without them, EPCOT Center would just be one magnificent stage. This ambassadorial Cast (in understanding the Epcot dream) would become “the link between the shows and the guest.” According to a souvenir guide, the EPCOT Center Hosts and Hostesses were ambassadors “of happiness, hope, optimism and goodwill.” According to one prospectus: “In this true people-to-people concept, sponsoring nations will be invited to send their outstanding young adults to operate the attractions, shops, restaurants and exhibits of their pavilion.” Proving this were the Odori Festival of Japan and authentic Japanese Candy Man, who created “herons and unicorns from his treasure trove of rice toffee,” and helped open the World Showcase on October 1, 1982. Through the World Showcase Festival Program, Epcot Center guests were entertained by performers from all over the world. These “cultural ambassadors” included entertainers representing Greece, Africa, Cambodia, the Dominican Republic, Yugoslavia, Israel and Norway.

The international guests would soon find that the Japan World Showcase Cast Members were knowledgeable and prepared to answer questions about the pavilion and the country itself, and would even provide foreign language assistance, and guest literature in many languages. As early as June of 1980, it was divulged: “Young people will be brought over from their native country on a combination work and education program. Courses with college credit will be conducted at Walt Disney World University.” [“Orlando-Land!” published for June of 1980]

“Dedication”

On October 20, 1982, individual dedication ceremonies for the month of October drew to a close with a small ceremony in Japan.

“Odori Festival of Japan Comes to the International Festival of Festivals”

Epcot Center World Showcase Festival Program Reception celebrated a unique Community of Nations on Saturday, October 23, 1982. The grand finale the evening's festivities, Le Carna-val de Lumière proudly proclaimed the Official Opening with the presentation of the world premiere of its International Festival of Festivals, a celebration of celebrations. Epcot Center's nighttime extravaganza of illuminations, water, sound, and fire was viewed from Showcase Plaza. This show, was to be an ongoing feature of World Showcase, using the new medium of computerized “magic-lantern” illumination to transport audiences to other times and cultures, inviting their imagination to engage in moments of festivity around the world.

Every society rejoices in what it feels most deeply about, inventing vivid rituals to celebrate important events in the cycle of life. Throughout the ages, the family of man has marked these joyous occasions with impressive public feasts and fêtes, dancing and music, parades and processions, pageants and exhibitions, spectacles and fireworks. These celebrations march from the past, through our lives today, and into the heritage of future generations. Through kaleidoscopic tapestries of light and sound, Le Carnaval de Lumière took audiences across the entire world and through twenty centuries to experience the rich diversity - and the commonality - of human celebration.

The roster of international entertainers is still impressive. The following groups were featured: All-American College Marching Band, West Point Glee Club, the Royal Irish Rangers (the last Irish infantry regiment in the British Army), Koleda (a highly professional group of dancers and musicians from Valenje, Yugoslavia), the Folkloric Dancers of Madrid (Spain), the Folklore Group Fribourg (Switzerland), Leyte Kalipayan Dance Company (Philippines), Areyto (The National Folkloric Ballet of Puerto Rico), Kelaa M'Gouna and Imintanout Folk Dancers and Musicians (Morocco), Ballet Folklórico Nacional de Mexico, The Boys Band of Meersburg (Germany), National Korean Folk Dance Company, Historic Standard Bearers of the District of Cori (Italy), "Lous Pastous Seignossais" Folk Ensemble (France), Finnish Folk Dance and Music Ensemble, "Katrilli" (Finland), Tivoli Boys Guard Band (Denmark), The National Folklore Troupe of Egypt, Universidad del Valle Folk Dance Group (Columbia), Lucnica (Czechoslovakia), The Shanghai City Song and Dance Ensemble (China), the Royal Canadian Mounted Police Musical Ride, The Royal Barbados Police Band, The Hunting Horns of Hoffalize and The Hunting Horns of St. Hubert (Belgium), COSAAN African Dance Company, and Odori Festival of Japan.

The 1982 program described Odori Festival of Japan as “one of the Orient's most dynamic dance exports, the Odori Festival of Japan presents a diversified repertory of ancient peasant and religious dances gleaned from the many regions of Japan. One of the most evident characteristics of Japanese folk dancing is its very complicated yet highly refined technique, which elevates this entertainment to a high art form. Along with the graceful temple dances and dances that celebrate the planting of rice, there are the haunting ‘Devil Sword Dance,’ the ‘Wild Horse Dance,’ and the ‘Bo Odori,’ a martial arts dance, among many others. The indigenous costumes and exotic instruments create an aura as colorful as the history of Japan. The group is presented under the auspices of Tokyo's International Artists Center and was organized in 1966 to ‘establish artistic contact with all countries and try to foster cultural exchange beyond ideologies.’”

The grand finale of Sunday's Grand Opening Dedication Ceremony will be a 1 1/2 minute fireworks spectacular -- “The Colors of the World” immediately followed by a flyover salute by the Florida Air National Guard.

Coming toward Japan on the World Showcase Lagoon, we pass a flaming red Tori. “Resembling a giant calligraphic character, the Torii (or "Gate of Honor") is a popular good luck symbol, wishing us well as we begin our Japan experience.”

According to one “Walt Disney World Epcot Center - Japan” prospectus prepared by Walt Disney Productions, c.1982: “Lanterns, which we may take for granted as simple ornaments, also have special significance, determined by their size and design. The ones here, like the giant Torii in the lagoon, mean ‘good luck.’”

Pagodas are religious shrines and memorial buildings, common throughout Burma, China, India, Thailand and Japan. What sets the Goju No To apart from others? This one (surrounded by “formal bonsai gardens carved with paths, a meandering stream and waterfall”), is modeled after the famous eighth century Horyuji Temple in Nara, Japan.

Other parks and gardens like Tivoli Gardens included pagoda attractions.

According to one “Walt Disney World Epcot Center - Japan” prospectus prepared by Walt Disney Productions, c.1982: “On the shore beyond the Torii stands the majestic Goju No To, a five story pagoda, nearly 83 feet tall. Each of the five stories of this graceful structure represents one of the elements which, according to Buddhist teachings, produced everything in the universe. The first level represents the earth, the second water, the third fire, the fourth wind, and, finally, the sky. If we listen as the breeze blows, we’ll hear the wind chimes from the sorin, the spire reaching from the roof.”

Nearby, the Kodak "Photo Spot" indicated a prime photo-taking location.

Since 1983, a number of group to performed taiko including Kanto Abare Daiko (1983-1993), One World Taiko (1993) featuring Gary Tsujimoto, Nancy Ozaki, and Matsuriza. In the present, Matsuriza are the sole taiko drummers and storytellers remaining to perform.

“Japanese Garden”

“Heading clockwise away from the pagoda, we begin a leisurely stroll through a typically tranquil Japanese garden. Landscaping is an art form in Japan, with rocks plants, and water as the essential mediums. The path is defined by bamboo screen fences, lined with ‘cloud pruned’ evergreens, willow trees, and flowering shrubs. We will pause at the ‘view perfecting pine’ to admire the way it frames the view of the waterfall which graces this garden. We linger at the water's edge, captivated by the koi, colorful fish known for their longevity and brilliant colors. Around each corner is a lovely sight, either an engaging rock composition or a splendid view of the waterfall.”

The area utilized two separate types of lighting: Character lighting, and Functional Lighting. Character lighting such as a chandelier, or kerosene lamp, was themed to enhance the overall appearance and complement the interior. These added to the show, but didn’t necessarily create enough illumination for operation. Functional lighting on the other hand, offered substantial light without being obvious, or distracting from the show.

“Mitsukoshi Department Store”

The largest department store in Japan operates the largest merchandise location in World Showcase -Mitsukoshi, the same company with stores in New York, Honolulu, and around the world. Typically, a Mitsukoshi store in Japan features a wide variety of products from groceries to clothing. Various counters in the store are rented or leased out to outside vendors to sell their wares, but it's still all part of Mitsukoshi.

As with the Participant Sponsors of other World Showcase Pavilions, Mitsukoshi was an Operational Participant of the Japan Pavilion, meaning they staff and buy for their shop. At Epcot Center, only traditional Japanese merchandise was available, including clothing, crafts, and silks, each one was a local product of Japan. Here, Mitsukoshi Department Store stocked dolls, fine porcelain, kimonos and Japanese handicrafts. There were antique toys, jewelry, perfume, stationery and food items. And for the Japanese guest, they may note that merchandise is wrapped in a traditional fine, expensive silk paper, which was designed 300 years ago and is what the Japanese have come to expect. Souvenirs of Mitsukoshi Department Store were prepared for Omiyage (お土産), that is, gift for others!

Design concepts for the shop itself were characterized by traditional Japanese art and architecture.

While a few Magic Kingdom merchandise locations offered souvenirs from Asiatic lands (e.g. the antiquated Oriental Imports, Ltd. shop in Adventureland which sold gifts from Hong Kong from 1971 to 1987), Mitsukoshi Department Store was truly unique.

This is the only Mitsukoshi Department Store operating in North America since the closure of the New York location.

The Disney concept of theming was evident throughout Disneyland and Walt Disney World. Each shop complemented the themed area and the merchandise. This is also carried over to Epcot Center World Showcase where we find souvenir shops that create tangible memories for Guests through Show and traditional merchandise of national origin.

It is notable to mention that during these early years, it was commonplace for merchandise locations to stock General Merchandise - non-character and/or decorative items, including film and sundries. In all, about 30% of merchandise had the Epcot Center logo, while the other 70% was general.

“EPCOT World Showcase Dining”

Epcot Center offered a sampling of delicious cuisine - a wide variety of dining experiences available for guests to savor in an international setting. Beer, wine and spirits were available at all table-service locations. Refreshing ice cream, beverages and snack carts could be found throughout Epcot Center.

“Yakitori House”

Having found our way to the top of the garden, we will be lured into the Yakitori House counter-service restaurant, perhaps by its structural charm, but it's just as likely that the promise of a scrumptious, satisfying snack will tempt us inside, as well. A replica of a renowned 16th century villa in Kyoto, the Yakitori House is a restaurant serving broiled chicken and Japanese-style beef among its authentic Japanese "fast food. The menu features a beef-rice bowl (marinated beef served over boiled rice) and yakitori chicken (Teriyaki chicken marinated in soy and ginger, skewered, then broiled). Sitting outdoors, surrounded by traditional lanterns and umbrellas, we will savor the atmosphere as much as the food.” The yakitori sauce is even carefully crafted of boiled sake and mirin wines.

“Matsu No Ma Lounge”

Mitsukoshi held Matsu No Ma Lounge offering exotic drink specialties. By 1984, one of the highlights was the Tempura Kiku table-service restaurant. The location offered batter-fried meats, seafood and vegetables served at a tempura bar). These batter-fried entrees were prepared as guests watched.

“Teppanyaki Dining”

At Teppanyaki Dining table-service restaurant, Japanese chefs prepared guests meals at their table. Chefs served grilled teppanyaki meats and seafood, with Sake and spirits.

The menu of the Teppanyaki restaurant on the second floor of the Mitsukoshi department store. Teppanyaki Dining Rooms offered grilled meats, seafood, Kirin beer, sake, spirits. You may recall dining at Mitsukoshi Restaurant and enjoying the flavors of the Matsu Beverage, the Ginger Dressing, or Shogun Dinner (Ginger Sauce and Mustard Sauce accompanying the shrimp appetizer or main course of chicken or beef).

In Japan's Restaurant Mitsukoshi, watch Japanese master chefs create culinary magic in spell-binding tableside presentations.

In its first year, the innovative showplace for technologies and human achievement had provided millions of visitors the opportunity to experience some of the world's finest art: an exhibit of pre-Columbian works from Mexico, and priceless sculpture from the tombs of China, and a display of Japanese crafts honoring that country's best living artists and craftsmen.

Bijutsu-kan Gallery - "Echos Through Time" was an exhibit featuring traditional and contemporary Japanese art forms.

“EPCOT CENTER-Illumi-Nations”

EPCOT CENTER-Illumi-Nations, the most dazzling, high-tech spectacle ever produced by Disney opened January 30, 1981 at Epcot Center. IllumiNations took place every evening just before closing around World Showcase Lagoon. IllumiNations actually transformed World Showcase into a totally new sensory experience as it enveloped 8 international courtyards that surrounded World Showcase Lagoon. The electrifying display blended a lush orchestral score with spotlights, lasers, fountains, fireworks and projected images to create an event of unparalleled visual impact.

25 computer systems synchronized the following to create the special effects that made IllumiNations so electrifying:

• 13 special effects projectors

• 6 lasers

• 11 giant searchlights

• 12 wire mesh screens (each as big as the side of a warehouse!) on which light-designs are projected

• 108 dazzling fountains that create the lagoon's dancing waters

• 783 fireworks rockets—a 4th of July celebration every night!

• 550 theatrical and 680 strobe lights

• 5 miles of building-outlining rim lighting

• More than 50,000 lightbulbs!

IllumiNations' theme was international travel, and as the show began pictures were drawn in light over the lagoon, setting the stage for the journey that followed. The classical music selections-recorded by the Toronto Symphony Orchestra delighted the ear as much as the fantasy of lights delighted the eyes.

Then, one by one, the nations around World Showcase changed in appearance through the magic of Disney as the musical score changed with them. Some buildings even appeared to undergo architectural transformations before the audience’s eyes.

The Canadian chateau became a stand of giant fir trees. Germany's Bavarian castle turned into a whimsical gingerbread Gasthaus. France became a cabaret. Kites appeared over Japan, and a dragon travelled across China. The rousing finale combined all the global tour's elements of sight and sound. Even then the colorful lighting effects remained on to offer guests a totally new nighttime adventure at Epcot Center.

If you thought you’d seen it all, the amazing new light of IllumiNations was the experience of a lighttime, nightly at Epcot Center.

Walt Disney Entertainment department developed new shows and parades for all of Walt Disney World. Soon, Character and Equity groups performed in this area of World Showcase South, with Characters overseen by the WSC South Captain. By 2007, Guests May recall “Disney Characters on Holiday” (DCOH), a group of Characters that performed in several locations in Epcot, entering and exiting on a European double-decker bus.

By 1982, the new 17,500-square-foot Morocco Showcase was being master planned to be situated on the 40-acre World Showcase Lagoon midway between the existing pavilions of France and Japan.

Both the American Adventure and Morocco would come to flank Japan. Obviously, the fastest way to move people over the extended areas of a Park is with moving vehicles. "FriendShip" launches crossed the World Showcase Lagoon and readily accommodated guests in wheelchairs and strollers. Buses regularly circled the World Showcase promenade. By 1982, getting around the World Showcase area was made easier with additional transportation, in the form of seven more busses and two new boats with a third under construction.

A 600-room and 50-royal suite Thai-inspired Asian Resort (with its own restaurant and lounge atop a 160-foot tower) would offer a complete range of resort facilities. “Primarily Thai in its decor and food specialities, this hotel will be located on the lagoon, nearest of all the hotels to the theme park entrance. It is being planned to include 600 rooms, about two-thirds in garden settings and the remainder in the 160-foot tower building. A theme restaurant and cocktail lounge at the top of the tower will provide nighttime dancing and stage entertainment. A unique feature is the location of convention facilities, all underneath and separated from the main public areas of the Asian resort. In addition, a multi-purpose main ballroom and smaller meeting rooms are planned for conventions. Every guest room (including 50 elegant suites) will face the lagoon or a central recreation area.” This particular additional development was planned to be completed by the Christmas of 1974 and beyond.

The Epcot Center Japan World Showcase nearly inspired a Hotel of the Walt Disney World Resort. Chairman of the Operating Committee of Walt Disney World Robert (Bob) C. Allen (who leads the team which meets regularly to plan projects) found that the Golf Resort was “pulling rooms from the Lake Buena Vista area. There has been a hiatus while the surrounding area builds up. With the World Showcase, we expect to build the Asian Hotel. We are also going to expand the Polynesian with 120 to 140 more rooms.” [Orlando-Land; October, 1976]

The new resort-hotel would be based on the exotic Asian theme of Thailand, planned for the shores of the Seven Seas Lagoon.

“Legacy - Disneyland in Japan”

By August of 1975, the Feasibility Analysis Economic Study was completed for (what was first billed as the now much-antiquated “Oriental Disneyland”), an area called “International Land” was mentioned. It seems that (much like the original concept for EPCOT Center), Guests of International Land would also have “an opportunity to experience the endless variety of today's community of nations… discover the culture, traditions, tourism, and accomplishments of the participating countries through a wide variety of exciting shows and attractions, restaurants, and shopping streets unique to the individual nations.”

“It Looks Like We Started Something - Epcot Center Legacy of the Asian Hotel and WESTCOT”

The EPCOT Center World Showcase nearly had a legacy in WESTCOT Center - “a West Coast version of EPCOT Center, with a Spacestation Earth as its centerpiece, and a World Showcase. It was initially announced in March 1991, to be built where Disney California Adventure was eventually situated.” [Disney Facts Revealed by Dave Smith, 2016] WESTCOT was to include a whole new World Showcase of culture, traditions, tourism, and accomplishments of participating nations. Like EPCOT Center, these would be experienced through a wide variety of exciting shows and attractions, restaurants, and shopping streets unique to the individual nations.

World Showcase nearly had a legacy in WESTCOT Center. Guests would have been transported to the Wonders of WESTCOT themed pavilions. At World Showcase, located around the island, visitors would have explored every corner of the globe at dramatic pavilions of foreign lands. WESTCOT was to include a whole new World Showcase of culture, traditions, tourism, and accomplishments of participating nations. Like EPCOT Center, these would be experienced through a wide variety of exciting shows and attractions, restaurants, and shopping streets unique to the individual nations.

On December 15, 1966, Roy Disney addressed the employees of Walt Disney Productions: “Walt Disney's preparation for the future has a solid, creative foundation. All of the plans for the future that Walt had begun - new motion pictures, the expansion of Disneyland, television production and our Florida and Mineral King projects will continue to move ahead. That is the way Walt wanted it to be… Last October when he accepted the ‘showman of the World’ award in New York, Walt said, ‘The Disney organization now has more than four thousand employees. Many have been with us for over thirty years. They take great pride in the organization which they helped to build. Only through the talent, labor and dedication of this staff could any Disney project get off the ground. We all think alike in the ultimate pattern.’”

By 1975, “the need for an Experimental Prototype Community of Tomorrow… was[sic] even greater than when Walt Disney first began talking about it in 1965.” The Experimental Prototype Community of Tomorrow was to feature a living community where American Industry would always be introducing, testing and demonstrating new techniques and systems designed to enhance the quality of urban life. EPCOT was always to be a showcase to the world community. And so the author of one c.1975 prospectus stated: “Now, more than ever, our world needs a focal point a forum where creative men and women of science, industry, government and the arts from around the world can present new ideas and technologies... stimulating new concepts that will enable both the leaders of the world and the general citizenry to better understand the great challenges facing people around the world…and the possible solutions to these great challenges.”

Soon the second Phase of Walt Disney World was being planned - EPCOT Center. According to one EPCOT Center’s instructor’s orientation guide, one objective set out for EPCOT was “to be a ‘permanent international people-to-people exchange’. . . advancing the course of world understanding among its citizens. What we are doing now is creating a public focus. . . a ‘center’ for the communication of what is being done. . . made directly to the public in ways they will both understand and enjoy. Our goal through EPCOT Center is to inspire our guests who come here, so that they will be turned on to the positive potential of the future and will want to participate in making the choices that will shape it. In short, we believe that EPCOT Center will establish a new level of entertainment and equally important, education for families and people of all ages from all lands. . . and that EPCOT Center will give people hope that there are solutions to all the problems that exist in the world today. . . and that there truly can be understanding among nations.”

“Unlike a world's fair, EPCOT's World Showcase will be a permanent international exhibition. No nation's exhibit or restaurant or product displays will be ‘torn down’ after one year or less-the standard requirement at world's fairs. Instead the one-time construction costs will go on working for a country for many years at Walt Disney World. Here the nations of the world will stand side by side in two semicircular buildings. This semicircular design not only will offer equal exposure and public access for each nation...but will also function as an interrelated series of experiences for every guest. for the entire complex of attractions and exhibits will be tied together by a Disney people-moving system that will also offer visitors a ‘preview look’ into each country's pavilion.”

One Walt Disney World Showcase prospectus added: “Here the nations of the world will meet on a coequal basis to communicate on a ‘people to people’ exchange with the more than 12 million visitors to Walt Disney World. Here young people from all over the earth will come to operate the attractions of their native lands… to serve the distinctive foods and to demonstrate and sell the unique merchandise of their home countries. Unlike a world's fair, EPCOT's World Showcase will be a permanent international exhibition. No nation's exhibit or restaurant or product displays will be ’torn down’ after one year or less-the standard requirement at world's fairs. Instead the one-time construction costs will go on working for a country for many years at Walt Disney World.”

A prospectus (entitled “EPCOT Center… People Bring It To Life”) opens by describing how the World Showcase was one of two principle themes of EPCOT Center, as it “be a ‘Community of Nations,’ the only permanent international exposition of its kind anywhere, focusing on the cultures, traditions, tourism, and accomplishments of people around the world.” Initial show master-planning and conceptual development resulted in EPCOT Center World Showcase presentations were “80 per cent World Showcase and 20 per cent EPCOT. Since then, we’ve evolved to the place where there’s maybe 80 per cent EPCOT and 20 per cent World Showcase. I think now we feel we’re at a point where we know what EPCOT and World Showcase are going to be. The two projects will work together and compliment each other,” according to a statement by Jack Lindquist, in which he discussed EPCOT Center plans. Herb Ryman created c.1965 suggestions for Walt Disney’s Progress City and “enclosed shopping areas… representing countries of the world.” According to another prospectus, “The World Showcase comprises the southern half of EPCOT Center where at least ten participating countries will stand side-by-side in friendship along the banks of a broad lagoon… The participants in this first phase of World Showcase include United Mexican States, Japan, Federal Republic of Germany, United Kingdom, French Republic, United Arab Emirates, Italian Republic, Canada, State of Israel and Morocco. Disney Imagineers are now working with government or business interests from these countries to achieve a unique and meaningful showcase for each nation.” Surely any wanderlust was sure to be satiated through the Epcot Center World Showcase.

Walt’s people and company were now embarking on “imagineering” a new, grander “theme show” for Florida audiences. The latter expression (“theme show”) was once defined as: “A controlled, usually man-made environment where as many as possible elements pertain to a single fictional or non-fictional motif. Thus, an individual placed within that environment may consciously or subliminally experience it.” But even more (as one sanctioned statement elaborated): “We are talking about all the things a guest may experience and be entertained by - colors, sounds, lights, detail - timing, taste and texture. Through art and animation, our imagination, creativity and talent blend together to make our ’show.’” Everything in the EPCOT Center World Showcase would be to this theme and atmosphere from this particular time, place and subject. A themed motif would be incorporated into every aspect of operation (e.g., room décor, menus, attractions and costumes).

"I don't want the public to see the world they live in while they're in the park. I want them to feel they're in another world.” - Walt Disney. Nestled between a stretch (of more than 40 miles) of canal, a perimeter road, a service road, and the shores of the World Showcase Lagoon Promenade, is the EPCOT Center United Kingdom World Showcase.

Marty Sklar recollected (in “One Little Spark! Mickey’s Ten Commandments and The Road to Imagineering”: “I had spent eight of my eventual fifty-four years at Disney leading the Imagineers in developing the concepts, playing a key role in convincing the major corporate sponsors to make Epcot a reality, and producing the myriad of shows and stories that attracted more than ten million visitors to visit Epcot in its first year.” In June of 1980, Harper Goff described: “We start with the lagoon. The front has to be a water element. The pub in the British Pavilion has two aspects. On the lagoon side, it is a replica of the waterside pub on the Thames used by the boating population. On the side street in resembles a pub in Soho. You can dine in the pub and then wander back into a London park like Grosvenor Square. One building has the feel of St. James Palace. The replica of Hampton Court houses a toy shop. The pavilion will also have a Royal Doulton china shop, a gift shop and a biscuit and confectionery store. farther back, you’ll be able to stroll into an area like the Cotswold Hills.” Within the same interview, Dave Baron (World Showcase Development) added: “Soon after opening we’ll have a British music hall. A live show will be presented with dinner.” And still, Jack Lindquist added: “We may also have a British historical facility.”

Walt Disney once said: “The whole thing here is the organization. Whatever we accomplish belongs to our entire group, a tribute to our combined effort.” In step with Walt’s philosophies, what was described as a “complex and highly diversified team” of individuals (among the Project Management and the Project Team) would coordinate and translate the concept of EPCOT Center into a reality.

The United Kingdom Pavilion would be Imagineered by the collaborative contributions of writers, designers, artists, film makers, engineers, sculptors, and builders, in addition to committees of foreign nationals, representatives of corporations and governments. These were lead by Project Director Jim Nagy, EPCOT Center World Showcase United Kingdom Project Manager Joe Navarro, Jim Barrett (Resident Engineer), Jerry Hunt (BVCC Project Manager), Robby Blackman (Tishman Project Manager), Alan Bourgeois (Pico Coordinator), Joanne Fernholz (Project Business Administrator), and Dave Yanchar (Project Planner).

Walt Disney World Shops would employ disciplines found at MAPO, supporting MAPO with in construction manufacturing. During construction some 750,000 - 800,000 square feet of concrete were poured in EPCOT Center.

The Showcase Area Development Landscaping Team was comprised of Don Hughes (Project Manager), Bill Coan(Resident Engineer), Jim Franklin (BVCC Project Manager), John Payne (PICO Coordinator), Joanne Fernholz (Project Business Administrator), and Dave Yanchar (Project Planner). [“Epcot Center - People Bring it to Life,” prepared by WED/MAPO, c.1980]

On September 16, 1981, Jack Lindquist firmly announced the official EPCOT Center Grand Opening date for EPCOT Center World Showcase United Kingdom Pavilion - Tuesday, October 19, 1982. On Tuesday, October 19, 1982, ceremonies were held at United Kingdom.

“The United Kingdom is Represented at the International Festival of Festivals”

Epcot Center World Showcase Festival Program Reception celebrated a unique Community of Nations on Saturday, October 23, 1982. The grand finale the evening's festivities, Le Carna-val de Lumière proudly proclaimed the Official Opening with the presentation of the world premiere of its International Festival of Festivals, a celebration of celebrations. Epcot Center's nighttime extravaganza of illuminations, water, sound, and fire was viewed from Showcase Plaza. This show, was to be an ongoing feature of World Showcase, using the new medium of computerized “magic-lantern” illumination to transport audiences to other times and cultures, inviting their imagination to engage in moments of festivity around the world.

Every society rejoices in what it feels most deeply about, inventing vivid rituals to celebrate important events in the cycle of life. Throughout the ages, the family of man has marked these joyous occasions with impressive public feasts and fêtes, dancing and music, parades and processions, pageants and exhibitions, spectacles and fireworks. These celebrations march from the past, through our lives today, and into the heritage of future generations. Through kaleidoscopic tapestries of light and sound, Le Carnaval de Lumière took audiences across the entire world and through twenty centuries to experience the rich diversity - and the commonality - of human celebration.

The roster of international entertainers is still impressive. The following groups were featured: All-American College Marching Band, West Point Glee Club, the Royal Irish Rangers (the last Irish infantry regiment in the British Army), Koleda (a highly professional group of dancers and musicians from Valenje, Yugoslavia), the Folkloric Dancers of Madrid (Spain), the Folklore Group Fribourg (Switzerland), Leyte Kalipayan Dance Company (Philippines), Areyto (The National Folkloric Ballet of Puerto Rico), Kelaa M'Gouna and Imintanout Folk Dancers and Musicians (Morocco), Ballet Folklórico Nacional de Mexico, The Boys Band of Meersburg (Germany), National Korean Folk Dance Company, Historic Standard Bearers of the District of Cori (Italy), "Lous Pastous Seignossais" Folk Ensemble (France), Finnish Folk Dance and Music Ensemble, "Katrilli" (Finland), Tivoli Boys Guard Band (Denmark), The National Folklore Troupe of Egypt, Universidad del Valle Folk Dance Group (Columbia), Lucnica (Czechoslovakia), The Shanghai City Song and Dance Ensemble (China), the Royal Canadian Mounted Police Musical Ride, The Royal Barbados Police Band, The Hunting Horns of Hoffalize and The Hunting Horns of St. Hubert (Belgium), COSAAN African Dance Company, and Odori Festival of Japan.

The 1982 program introduced The Royal Irish Rangers:

“As the last Irish infantry regiment in the British Army, the Royal Irish Rangers regard themselves as custodians of the proud heritage of all the gallant Irish regiments that preceded them. Organized in 1968 from an amalgamation of three famous old Irish regiments, the Royal Irish Rangers consist of a Military Band, Pipe Band with Drums, and a Corps of Bugles which, when combined, form a massed band of upwards of 60 performers. The military band in its green and silver uniforms, the buglers in their shakos, and the pipers dressed in saffron kilts create an impressive visual effect. The Rangers produce a variety of musical entertainments, including band concerts, parades, Irish dancing, and folk ensembles, as well as ceremonial fanfares and formations.”

“Jack Lindquist, Vice President of Marketing for Disneyland and Walt Disney World… [headed] up our team responsible for lining up participants for EPCOT and World Showcase,” according to Disneyland LINE Magazine. By 1978, at least nine companies had expressed an intention to participate in the United Kingdom World Showcase - British Airways, Selfridges Ltd., Bass Export Ltd., Dunbee-Combex-Marx Ltd., Associated Biscuits Ltd., Royal Doulton, British Rail, Guinness-Harp Corp., and Heraldic Promotions.

When Epcot Center opened in 1982, there were 34 merchandise locations, several located in the the United Kingdom Pavilion. The United Kingdom Pavilion opened with the Rose & Crown Pub & Dining Room restaurant, Pringle of Scotland shop, His Lordship shop, Toy Soldier shop, and Biscuit Barrel shop.

The Disney concept of theming is evident throughout Disneyland and Walt Disney World. Our shops complement the themed area and the merchandise. This is also carried over to Epcot Center World Showcase where we find souvenir shops that create tangible memories for Guests through Show and traditional merchandise of national origin.

It is notable to mention that during these early years, it was commonplace for merchandise locations to stock General Merchandise - non -character and/or decorative items, including film and sundries. In all, about 30% of merchandise had the Epcot Center logo, while the other 70% was general.

The aforementioned “The Spirit of EPCOT Center” c.1982 instructor’s orientation guide introduces the microcosm that is the U.K. Pavilion the following way:

“In a matter of only a few hundred feet, it’s possible to stroll from an elegant London square to the edge of a canal in the rural countryside via a bustling urban English street. In all, there are more than eight different architectural styles along the way, from English Tudor and Georgian to English Victorian.

The Rose & Crown Pub & Dining Room serves fish and chips, hot roast beef piled on an English muffin and steak and kidney pie. Bass Exports is the participant here.

Rocking horses, toys, baby carriages, dolls, all made in the U.K., are available in the Toy Soldier.

His Lordship sells brass blazer buttons, compasses, oil lamps, and a variety of other men’s accessories.

Pringle of Scotland offers a huge selection of styles and colors in men’s and women’s sweaters knitted by Scotland’s most famous maker.

The Queen’s Table specializes in Royal Doulton’s fine collector’s plates, figurines, and limited edition offerings.

The Biscuit Barrel looks something like Anne Hathaway’s cottage in Stratford-Upon-Avon, offering English cookies and other goodies.

Sharing Anne Hatahway’s cottage with the Biscuit Barrel , The Tea Caddy stocks English tea cups and other necessities.”

•Toy Shop (The Toy Soldier) was stocked with toys, dolls, cars, wooden toys and figures. As guests browse through the shop one of the first things they notice is the window display. The colorful designs provide yet another dimension to the Epcot Center experience. The animated display for the toy shop in the United Kingdom, provides a charm and craftsmanship that appeals to everyone. Display design also encompasses the fixtures and props which exhibit merchandise within the shop. Antique pieces from England, along with the specially designed displays, are part of the elements used to enhance the authenticity for the store.

•Men's Gift Shop (His Lordship) offered tobacco items, men's gifts and accessories.

•Tea Shop (The Tea Caddy), featuring Twining Teas carried teas and service accessories.

•Biscuit Shop (The Biscuit Barrel) sold an assortment of packaged biscuits, tins, cookies and jellies.

•Apparel Shop (Pringle of Scotland, Fine Woolens Since 1815), offered a full line of men's and ladies' wearables and accessories.

•China Shop (The Queen's Table), featuring Royal Doulton sold figurines, flatware and mugs.

•The Rose & Crown Pub & Dining Room featured traditional British fare, imported beers and ales over lunch and dinner.

The area utilized two separate types of lighting: Character lighting, and Functional Lighting. Character lighting such as a chandelier, or kerosene lamp, was themed to enhance the overall appearance and complement the interior. These added to the show, but didn’t necessarily create enough illumination for operation. Functional lighting on the other hand, offered substantial light without being obvious, or distracting from the show.

“EPCOT World Showcase Dining”

Epcot Center offered a sampling of delicious cuisine - a wide variety of dining experiences available for guests to savor in an international setting. Beer, wine and spirits were available at all table-service locations. Refreshing ice cream, beverages and snack carts could be found throughout Epcot Center.

A Latin phrase is woven into the Pub sign - “Otium cum Dignatate,” (meaning leisure with dignity).

When asked what his favorite Park food is, Disneylander (and “55er”) Buzz Price answered: “Martinis at the English Pub in Epcot at Walt Disney World in Florida.”

In 1978, Card Walker (at the World Congress of the International Chamber of Commerce) announced: “The World Showcase will be a community of nations, the only permanent international exposition of its kind anywhere, focusing on the culture, traditions, tourism and accomplishments of people around the world… a model for true people-to-people exchange, the World Showcase will offer participating nations an opportunity to send their outstanding young adults to operate the attractions, shops, restaurants and exhibits of their pavilions. And these young people who will work, play and learn together for a period of up to one year will help to generate greater international understanding.” The Epcot World Showcase would truly be “a showcase of the world…and a showcase to the world.” Here ”the nations of the world will stand side by side…” and “meet on a coequal basis to communicate on a ‘people to people’ exchange with the more than 12 million visitors.” Here ”the nations of the world will stand side by side…” and “meet on a coequal basis to communicate on a ‘people to people’ exchange with the more than 12 million visitors.”

According to one Pre-Opening Day c.1982 orientation instructor’s guide: “The familiar faces of the Disney Characters won’t be there.” Instead, EPCOT Center Cast Members would be referred to as ambassadors of “the spirit of EPCOT Center,” since that very namesake orientation class. Without them, EPCOT Center would just be one magnificent stage. This ambassadorial Cast (in understanding the Epcot dream) would become “the link between the shows and the guest.” According to a souvenir guide, the EPCOT Center Hosts and Hostesses were ambassadors “of happiness, hope, optimism and goodwill.” According to one prospectus: “In this true people-to-people concept, sponsoring nations will be invited to send their outstanding young adults to operate the attractions, shops, restaurants and exhibits of their pavilion.” Proving this were the authentic Royal Irish Rangers, Pearly Kings and Queens, and one “William Shakespeare” that helped open the World Showcase on October 1, 1982. Through the World Showcase Festival Program, Epcot Center guests were entertained by performers from all over the world. These “cultural ambassadors” included entertainers representing Greece, Africa, Cambodia, the Dominican Republic, Yugoslavia, Israel and Norway.

The international guests would soon find that the United Kingdom World Showcase Cast Members were knowledgeable and prepared to answer questions about the pavilion and the country itself, and would even provide foreign language assistance, and guest literature in many languages. As early as June of 1980, it was divulged: “Young people will be brought over from their native country on a combination work and education program. Courses with college credit will be conducted at Walt Disney World University.” [“Orlando-Land!” published for June of 1980] All of these would contribute to a community of nations standing side by side. As Ken Anderson once noted, “I see people getting to know one another better on a scale, and in an environment that makes our similarities more important than our differences… a tremendous way of shrinking the world even further.”

Since the beginning, Atmosphere Entertainment complimenting the theme of areas was staged to entertain Pavilion Guests on an immediate and personal level. The Streetmosphere program began in the Italy Pavilion with some 60 SAK Theater actors (including C. McNair Wilson, Terry Olson, Herb Hansen). Eventually shows were added to Future World and the United Kingdom World Showcase Pavilion, at a rate of 45 shows a day performed from four areas. At the United Kingdom, you'll meet the Pearly Kings and Queens and an Elizabethan poet named Will Shakespeare.

Walt Disney Entertainment department developed new shows and parades for all of Walt Disney World. Soon Character and Equity groups performed in this area of World Showcase West (and the International Gateway between the UK and France Pavilions), with Characters overseen by the WSC West Captain. Ultimately, Streetmosphere also called “Streetmo”) would support the Disney-MGM Studios Show. There, equity contract performers would portray 1930's/40's Hollywood citizens on Hollywood or Sunset Boulevards.

At EPCOT, “8,990 additional costume pieces will be laundered each day - bringing daily output to approximately 27,400 costume pieces.”

Other popular crowd-pleasers were the Pearly Kings and Queens.

By c.2007, Guests May recall “Disney Characters on Holiday” (DCOH), a group of Characters that performed in several locations in Epcot, entering and exiting on a European double-decker bus. One of their Set Locations was in the Norway pavilion.

Obviously, the fastest way to move people over the extended areas of a Park is with moving vehicles. "FriendShip" launches crossed the World Showcase Lagoon and readily accommodated guests in wheelchairs and strollers. Buses regularly circled the World Showcase promenade. By 1982, getting around the World Showcase area was made easier with additional transportation, in the form of seven more busses and two new boats with a third under construction.

By August of 1975, the Feasibility Analysis Economic Study was completed for (what was first billed as “Oriental Disneyland”), an area called “International Land” was mentioned. It seems that (much like the original concept for EPCOT Center), Guests of International Land would also have “an opportunity to experience the endless variety of today's community of nations… discover the culture, traditions, tourism, and accomplishments of the participating countries through a wide variety of exciting shows and attractions, restaurants, and shopping streets unique to the individual nations.”

“It Looks Like We Started Something - Epcot Center Legacy”

The EPCOT Center World Showcase nearly had a legacy in WESTCOT Center - “a West Coast version of EPCOT Center, with a Spacestation Earth as its centerpiece, and a World Showcase. It was initially announced in March 1991, to be built where Disney California Adventure was eventually situated.” [Disney Facts Revealed by Dave Smith, 2016]

World Showcase nearly had a legacy in WESTCOT Center. Guests would have been transported to the Wonders of WESTCOT themed pavilions. At World Showcase, located around the island, visitors would have explored every corner of the globe at dramatic pavilions of foreign lands. WESTCOT was to include a whole new World Showcase of culture, traditions, tourism, and accomplishments of participating nations. Like EPCOT Center, these would be experienced through a wide variety of exciting shows and attractions, restaurants, and shopping streets unique to the individual nations.