“it’s a small world”: The Complete Story of Walt’s Global Dream

by Joe Tracy, editor of Theme Park Magazine

In the summer of 1963, Walt Disney received an unexpected phone call that would lead to the creation of one of the world’s most enduring theme park attractions. With less than a year until the opening of the 1964 New York World’s Fair, Pepsi-Cola executives found themselves in a predicament. They couldn’t find a designer for their planned UNICEF pavilion and they needed something spectacular – fast. Their solution? Turn to the one man who had already proven he could create World’s Fair magic.

Walt’s World’s Fair: From Three Pavilions to an Unexpected Fourth

Walt Disney was already deeply involved in the 1964-65 New York World’s Fair, developing groundbreaking attractions for three major pavilions. For Ford Motor Company, his team was creating Magic Skyway, a ride system that would later evolve into the PeopleMover. The State of Illinois commissioned Great Moments with Mr. Lincoln, featuring the most advanced audio-animatronic figure ever created. For General Electric, Disney was developing Progressland (later known as the Carousel of Progress), showcasing the evolution of electricity in American life.

When Pepsi approached Disney executives about creating a tribute to UNICEF and the world’s children, it would take a legendary actress to get the project greenlit.

From Hollywood Party to Theme Park History

The story of how ‘it’s a small world’ came to be hinges on a chance encounter at a Hollywood party. Disney’s team, already overwhelmed with creating three World’s Fair attractions, had turned down Pepsi’s request for a pavilion without consulting Walt. Academy Award-winning actress Joan Crawford, who had joined Pepsi’s board of directors following her husband Alfred Steele’s death in 1959, refused to accept this rejection. When she crossed paths with Walt Disney at the party, she expressed her disappointment about the missed opportunity to collaborate.

Walt, unaware his team had declined the project, immediately reversed course. Crawford’s influence proved vital not only in securing Disney’s involvement but in championing the project through Pepsi’s corporate ranks. When skeptical board members questioned getting “some Mickey Mouse thing,” after seeing the initial plans, Crawford’s passionate advocacy helped win their support.

With Crawford’s backing, Pepsi committed fully to the project’s humanitarian goals. The company would donate all proceeds from ticket sales to UNICEF, transforming what could have been a simple corporate showcase into something far more meaningful – a celebration of children worldwide.

Innovation Under Pressure: Creating a New Kind of Disney Attraction

In his book, “It’s Kind of a Cute Story,” Disney Imagineer Rolly Crump recalls how swamped WED Enterprises (Walter Elias Disney – later Walt Disney Imagineering) was with creating three pavilions for the 1964/1965 World’s Fair. Out of the blue, Walt called an emergency meeting.

” ‘Well, there is one more piece of real estate left at the World’s Fair. I’d like for us to get it.’

We all looked around at each other in disbelief. Did he really just say what we thought he said? ‘I’d like to do a little boat ride,’ he continued. Well, we all kind of thought to ourselves, ‘Oh my God, he’s lost it.’ Our plates were already full. We had to perfect the show for Mr. Lincoln, the first time in history that an animatronic figure was going to stand up. We were working on Carousel of Progress for General Electric’s Progressland, with all the animatronics that were going in there. We had to make sure the conveyance system worked for the Ford pavilion. And here he was, wanting to do a little boat ride too!”

Despite the team’s initial concerns, development began immediately. The project, given the working title “Children of the World,” was officially announced in August 1963. The original concept seemed straightforward: create animated figures of children from various nations singing their respective national anthems. However, early tests revealed this would create a chaotic mess of competing songs – the first of many challenges the team would face.

The technical hurdles were immense. The attraction required hundreds of audio-animatronic figures that could operate reliably for 12-16 hours daily – far longer than any previous Disney attraction. The ride system needed to efficiently handle the World’s Fair’s expected peak attendance of 225,000 visitors per day. Beyond these technical challenges lay an even greater task: creating an experience that would resonate with visitors from around the world, regardless of their native language or culture.

While the team worked to solve these internal challenges, they also needed to create something that would catch visitors’ attention from across the fairgrounds. The answer came in the form of a massive architectural icon that would become one of the fair’s most memorable landmarks.

Rolly Crump’s Tower of the Four Winds

Standing 120 feet tall at the pavilion’s entrance, the Tower of the Four Winds became one of the fair’s most photographed structures. The project began when Walt Disney approached imagineer Rolly Crump, remembering the unique propeller designs and mobiles Crump had previously created for the studio library.

“Walt came to me and said, ‘Rolly, I’m going to need a marquee for the front of this thing,'” Crump recalled in his book. “What I loved about that was when he explained what he wanted, it was basically a tower of mobiles… That was just the way his mind worked. He remembered things that you did, and just sort of tucked them away in the back of his head to use later.”

The final structure featured 52 rotating elements, over 1,200 individual parts, and 500 colored lights. However, engineering requirements when the structure was enlarged changed Crump’s original vision. The support pipes had to be made significantly larger to withstand New York’s wind conditions – a modification that disappointed the designer. Despite Crump’s concerns, Walt remained enthusiastic about the project.

The tower became such a prominent landmark that “Meet me under the Tower of the Four Winds” became a common phrase among fairgoers. At night, the illuminated structure created a spectacular light show visible from across the fairgrounds.

While the Tower of the Four Winds would draw visitors to the pavilion, the attraction itself still faced a fundamental challenge: how to unify the voices of children from around the world into a single, coherent experience.

Also See: Honoring Rolly Crump: Legendary Disney Designer and Imagineer

From Musical Crisis to Global Anthem: The Birth of a Disney Classic

The attraction’s iconic song emerged from a moment of crisis. During an early walkthrough of the ride’s scale model, the jumbled mix of competing national anthems made it clear that a different approach was needed. Walt turned to Richard and Robert Sherman (the Sherman Brothers), who were already working on the Mary Poppins movie at the time.

“Walt said, ‘I want it to be a simple song that is a salute to the children of the world because they are the hope of the future,'” Richard Sherman recalled in a 2014 BMI interview. “‘They have to learn as youngsters how to live together and to share the world because that’s all we’ve got.'”

The historical context of the song’s creation is significant. Written shortly after the Cuban Missile Crisis, when Cold War tensions were at their peak, the song carried a deeper message of hope. “It’s a world of hopes and a world of fears,” the second line acknowledges, before emphasizing what unites people across borders.

The Sherman brothers initially presented the song as a slow, heartfelt ballad, but Walt requested something more cheerful. They increased the tempo and added counterpoint, creating a tune that could be sung in round. The song’s simplicity was intentional – it needed to be easily translated into multiple languages while maintaining its melodic appeal.

When the Sherman brothers suggested donating 100% their royalties to UNICEF, Walt immediately objected. “Don’t ever do that,” he told them. “This song is going to put your kids through school.”

When they expressed confusion, Walt added, “If you want to make a contribution to UNICEF, do it any time you want. But don’t give away your birthright.” His foresight proved remarkable – the song would go on to become one of the most performed pieces of music in history, with over 50 million performances in Disney parks alone. As Richard Sherman noted in the 2014 BMI interview, “It’s considered the most performed song on the planet, because it never stops playing. It has been translated into every language on the face of the earth.”

With the musical foundation in place, Walt turned his attention to creating a visual style that would be just as universal as the Sherman brothers’ song.

The Mary Blair Touch: Creating a Child’s View of the World

When it came to designing the attraction’s interior, Walt Disney knew exactly what artistic style he wanted. Walt recognized that Mary Blair’s unique artistic vision would perfectly capture the childlike wonder he envisioned for the attraction.

Blair had left Disney several years earlier to illustrate children’s books, but her distinctive style – characterized by bold colors, geometric shapes, and whimsical designs – had left an lasting impression on Walt. When approached about the project, she immediately agreed to return, much to the delight of fellow artist Rolly Crump, who considered her a personal hero.

“She was kind of a Goddess to me,” Crump recalled in his book. “I was thrilled to death when Walt decided to bring her in to do the styling for Small World… She was one of my idols, and I was going to get to work with her.”

Blair’s artistic direction gave visitors the feeling of traveling through an illustrated children’s book. Her use of simple forms and bright colors transcended cultural boundaries, creating a unified visual style that complemented the attraction’s message of global harmony. As a tribute to her contribution, the team included a special detail that remains in the attraction today – a blonde doll wearing Blair’s favorite outfit, placed near the Eiffel Tower scene.

With Blair’s artistic vision guiding the attraction’s look and the Sherman brothers’ song ready to play, “it’s a small world” prepared for its World’s Fair debut.

“it’s a small world” Debuts at the World’s Fair

When the fair opened on April 22, 1964, “it’s a small world” quickly became one of its most popular attractions. The ride system, designed by Arrow Development, could handle approximately 3,000 guests per hour. Boats carried visitors through elaborate scenes representing more than 100 nations, with over 300 audio-animatronic children singing in various languages.

The attraction operated from 9 AM to 10 PM daily, requiring a complex maintenance schedule. Every night, technicians would inspect and repair the audio-animatronic figures, check the ride system, and ensure the elaborate soundtrack continued to play seamlessly. During the fair’s off-season between October 1964 and April 1965, Disney’s team completely refurbished the figures at their Glendale studios.

Visitor reactions exceeded expectations. The New York Times praised the “wondrous boat ride” as worth experiencing multiple times, while The Christian Science Monitor called it “one of the greatest contributions to world peace ever shown anywhere.” Despite charging admission (unusual for a World’s Fair pavilion), the attraction drew between 35,000 and 40,000 daily visitors. All proceeds were given to UNICEF.

With the World’s Fair success proving the attraction’s appeal, Walt Disney began planning its permanent home in Anaheim. Walt had specific plans for this global celebration. It would become part of an ambitious expansion at Disneyland, though the move would require significant reimagining.

From Fair to Fantasyland: Reimagining “it’s a small world” for Disneyland

After the World’s Fair closed in October 1965, Disney faced the complex task of transplanting its attractions to Disneyland. For “it’s a small world,” the move to Disneyland required careful planning and significant modifications.

The most notable change involved the exterior. The beloved Tower of the Four Winds proved too complex to relocate and maintain. Instead, Rolly Crump and Mary Blair collaborated on a new facade that would become even more iconic – the 30-foot-tall kinetic clock tower. Drawing inspiration from Blair’s whimsical artistic style, which had already defined the attraction’s interior, the new exterior would create a seamless visual experience from outside to inside.

The facade did more than just welcome guests – it entertained them. Every 15 minutes, an elaborate performance features 24 animated figures dancing to the attraction’s signature tune. Dressed in white and gold to complement Blair’s artistic vision, the entire structure became a striking landmark visible throughout Fantasyland.

The Disneyland installation occupied a 1.25-acre site, with the building rising four stories high and covering 65,000 square feet. Construction crews worked around the clock to meet the planned opening date. The attraction required extensive infrastructure, including a complex water filtration system and specialized lighting that would highlight Blair’s artistic touches.

Innovation in Motion: The Mechanics Behind the Magic

While the attraction’s artistic elements captured guests’ imagination, the technical achievements behind the scenes were equally impressive. The move to Disneyland provided an opportunity to enhance the entire experience.

The Disneyland version incorporated several technical improvements over its World’s Fair predecessor. The ride system, again developed by Arrow Development, featured refined boats and an enhanced propulsion system. The audio system received particular attention, with engineers developing a sophisticated multi-track playback system that could seamlessly blend different language versions of the Sherman brothers’ song.

Behind the scenes, a complex network of machinery kept the attraction running smoothly. The ride system utilized a water filtration plant capable of processing 150,000 gallons daily. The audio-animatronic figures required regular maintenance, with technicians working overnight to ensure every figure moved correctly and sang on cue.

A Global Welcome: Opening Day at Disneyland

‘”it’s a small world” opened at Disneyland on May 28, 1966, as part of the park’s largest expansion to date. The attraction arrived with a new sponsor – Bank of America had stepped in after Pepsi-Cola executives, despite the ride’s World’s Fair triumph, passed on continuing their sponsorship. Their skepticism about the attraction’s staying power and popularity proved shortsighted, as evidenced by the global attendance at the opening ceremony, which included consular officials from 36 nations and more than 800 members of the press.

The ceremony itself embodied the attraction’s message of global unity. Walt Disney joined children from sixteen diverse groups in pouring water from the world’s seven seas and nine major lagoons into the attraction’s waterway. The water, collected from rivers including the Thames, Seine, Amazon, Danube, Nile, Volga, and Rhine, came from Disney representatives worldwide – an idea conceived by Disney executive Jack Lindquist.

The international celebration was full of festivities, including a performance by the International Children’s Choir of Long Beach and a large parade.

In his dedication speech, Walt Disney captured the attraction’s enduring message: “We wanted to foster a better understanding among nations of the world by showing the dress, the customs, the language, the music and a little of the culture of our neighbors around the world, and we wanted to show it to be a very happy one. I think it’s safe to say that having fun has universal appeal.”

Around the World: The Global Journey of “it’s a small world”

The success of ‘it’s a small world’ at Disneyland proved Walt’s vision of a universal attraction that could speak to all cultures. As Disney began planning parks beyond Anaheim, the attraction became an essential part of each new Disneyland-style park. While maintaining Walt’s core message of global unity, each installation would develop its own unique characteristics, reflecting both cultural differences and technological advances.

Magic Kingdom (1971)

When Walt Disney World opened in Florida, “it’s a small world” was among its opening-day attractions. The Magic Kingdom version differed significantly from its Anaheim predecessor. Without the space constraints of Disneyland, Imagineers designed a more efficient queue area, placing it indoors to protect guests from Florida’s unpredictable weather.

The Florida installation featured over 600 audio-animatronic figures, though its facade took a simpler approach than Disneyland’s elaborate clock tower. The attraction’s position within the park also changed, moving deeper into Fantasyland rather than serving as a visual landmark.

Tokyo Disneyland (1983)

The Japanese installation marked another evolution for “it’s a small world”. With the first Disney park outside the United States, Imagineers faced the challenge of adapting the show for an Asian audience while maintaining its universal appeal. The Tokyo version featured an expanded Asia sequence and new audio recordings in Japanese. While its exterior closely resembled the Anaheim original, the colors chosen complemented Tokyo Disneyland’s aesthetic.

Disneyland Paris (1992)

The European version represented the most significant departure from the original design. Imagineers created a completely new facade that integrated elements of European architecture while maintaining Blair’s whimsical style. The exterior clock face featured a distinctive design – a wide-awake sun on its left half and a sleeping moon on its right.

Inside, the Paris version introduced several innovations. Rather than separate rooms, the entire show takes place in one massive space divided by arches. The attraction features distinct scenes for North America and Europe, with dolls singing in French and German. The finale includes both English and French versions of the song.

Hong Kong Disneyland (2008)

The newest version of the attraction showcased how far technology had advanced since 1964. The Hong Kong installation features extraordinary lighting effects and an extensively expanded Asia sequence, with new scenes representing Hong Kong, the Philippines, and Korea. The attraction includes audio tracks in Cantonese, Tagalog, and Korean, reflecting the region’s linguistic diversity.

In a nod to modern Disney storytelling, the Hong Kong version includes 38 Disney characters rendered in Mary Blair’s style, thoughtfully placed in scenes representing their cultural origins. Each character was carefully integrated to complement rather than overshadow the attraction’s core message of global unity.

While each international version brought its own innovations, maintaining these installations presented unique challenges. As the original Disneyland version approached its fifth decade, Disney faced crucial decisions about preserving the attraction’s heritage while addressing modern operational needs.

Evolution and Innovation: Preserving While Progressing

Technical Updates

The most significant renovation in the attraction’s history occurred at Disneyland in 2008, when the original flume system required complete replacement. “We had to replace the entire infrastructure while ensuring we didn’t damage Mary Blair’s original artwork,” explained Kim Irvine, Art Director at Walt Disney Imagineering. The project included converting the ride system to more efficient electric water jet turbines and redesigning the aging fiberglass boats with durable plastic materials.

This renovation also addressed practical challenges that had emerged over time. As guest sizes changed through the decades, boat capacity had gradually decreased. Engineers redesigned the vessels to accommodate contemporary audiences while maintaining the classic appearance, and adjusted water levels to ensure consistent boat movement throughout the ride.

Holiday Transformation

In 1997, Disneyland introduced what would become one of its most popular seasonal traditions: “it’s a small world” Holiday. This ambitious overlay transforms the entire attraction during the Christmas season, celebrating holiday traditions from around the globe. The familiar melody intertwines with traditional carols as the dolls sing “Jingle Bells” and “Deck the Halls” alongside the classic “it’s a small world” tune.

Character Integration

Perhaps the most debated update came in 2009 when Disney introduced characters it owned (IP) into the Disneyland version. The addition placed 29 Disney and Pixar characters into their respective cultural settings: Peter Pan and Alice in England, Pinocchio in Italy, Mulan in China, and others.

To maintain the attraction’s artistic integrity, each character was designed in Mary Blair’s distinctive style. “We approached the character integration with tremendous respect for Mary Blair’s artistic vision,” said Kim Irvine. The characters were carefully placed within existing scenes rather than becoming focal points, ensuring they enhanced rather than overshadowed the attraction’s core message.

The integration of Disney characters continues to evolve. Tokyo Disneyland’s upcoming ‘it’s a small world with Groot’ overlay, scheduled for early 2025, represents the latest attempt to blend contemporary characters with the classic attraction. Like the 2009 additions, this limited-time experience will present Marvel characters rendered in Mary Blair’s distinctive style. However, this more dramatic departure from the original concept has sparked discussion among Disney fans about maintaining the attraction’s original spirit while appealing to modern audiences.

Though millions of guests experience ‘it’s a small world’ in Disney parks annually, the attraction’s influence extends far beyond its physical locations. From music and design to social consciousness, this ‘little boat ride’ has shaped culture in ways its creators never imagined.

Cultural Legacy: More Than an Attraction

Musical Impact

The Sherman brothers’ deceptively simple composition achieved remarkable status in music history. According to TIME magazine’s 2014 analysis, the song had been played nearly 50 million times in Disney parks alone, making it one of the most performed pieces of music ever created. In 2022, the Library of Congress recognized its cultural significance by adding the original 1964 Disneyland Boys Choir recording to the National Recording Registry.

The song’s translation into numerous languages presented unique challenges. “Each language has its own rhythm and cadence,” Richard Sherman explained in a 2014 BMI interview. “We had to ensure the melody could accommodate these differences while maintaining its simple, memorable quality.” This careful attention to cultural authenticity helped establish the song as a genuine global phenomenon rather than just a theme park tune.

Design Legacy

Mary Blair’s artistic vision for “it’s a small world” influenced generations of artists and designers. Her bold use of color, geometric shapes, and simplified forms created a distinctive visual style that became synonymous with mid-century Disney aesthetic. “Mary Blair’s work showed how cultural elements could be interpreted in a respectful yet stylized way,” noted Disney Archives Director Becky Cline. “Her approach to multicultural design was decades ahead of its time.”

Social Impact

Throughout its history, “it’s a small world” has served as a platform for promoting understanding across cultures. During the Cold War, it offered a vision of global unity that transcended political divisions. The attraction’s message of inclusion has continued to evolve, as demonstrated by the 2022 addition of dolls in wheelchairs, reflecting Disney’s attempt at representation while maintaining the attraction’s original spirit.

Looking to the Future: A Legacy Continues

As “it’s a small world” moves deeper into its seventh decade, Disney continues to find ways to keep the attraction relevant while honoring its history. Recent developments demonstrate how this delicate balance is maintained.

The Final Verse

In 2023, Richard Sherman presented Disney CEO Bob Iger with what would become his final contribution to the iconic “it’s a small world” song. The new verse, revealed shortly before Sherman’s passing in 2024, adds an environmental message to the classic tune:

“Mother Earth unites us in heart and mind
And the love we give makes us humankind
Through our vast wondrous land
When we stand hand-in-hand
It’s a small world after all”

This addition, scheduled to debut at Disneyland on July 17, 2025, as part of the park’s 70th anniversary celebration, represents more than just new lyrics. It connects the original message of human unity with contemporary concerns about environmental stewardship, bridging generations while remaining true to the Sherman brothers’ vision.

Preservation Efforts

Disney’s commitment to preserving the attraction extends beyond routine maintenance. The company maintains extensive archives of original artwork, technical drawings, and documentation. In 2024, Disney Imagineering completed a comprehensive digital scanning project, creating detailed 3D models of every figure and set piece to ensure accurate preservation for future generations.

The Enduring Legacy

More than six decades after its hasty creation for the New York World’s Fair, “it’s a small world” remains a testament to Walt Disney’s vision of promoting global understanding through shared experiences. What began as a tribute to UNICEF and the world’s children has evolved into something far more significant – a cultural touchstone that continues to remind millions of visitors annually about our shared humanity.

The attraction’s endurance speaks to the timeless quality of its message and the artistic brilliance of its creators. Mary Blair’s distinctive aesthetic, the Sherman brothers’ unforgettable music, and the combined talents of top artists, engineers, and Imagineers created something that transcends its origins as a theme park ride.

As Disney parks continue to evolve and new attractions incorporate increasingly sophisticated technology, “it’s a small world” maintains its ability to touch hearts through simple, yet profound means.

In a world that sometimes seems more divided than ever, the attraction’s simple message – that we’re all connected, that we share one world, and that we must learn to live together – remains as relevant today as it was in 1964. As millions of guests continue to experience this “happiest cruise that ever sailed,” they carry with them not just a memorable tune, but the hope for a future where it truly is a small world after all.

“it’s a small world” FAQ

Explore More: Videos

“it’s a small world” Opening Day – Disneyland Resort

Good Morning America Celebrates “it’s a small world”

“it’s a small world” at 1964 World’s Fair in New York (archival footage – no audio)

“it’s a small world” Holiday Edition

Explore More: Resources

• Book: It’s Kind of a Cute Story by Rolly Crump
• Web Page: it’s a small world (Disneyland)
• Web Page: it’s a small world (Magic Kingdom)
• Web Page: it’s a small world (Tokyo Disneyland)
• Web Page: it’s a small world (Disneyland Paris)
• Web Page: it’s a small world (Hong Kong Disneyland)
• Website: UNICEF
• Article: Honoring Rolly Crump: Legendary Disney Designer and Imagineer (Theme Park Magazine)