Middle East

This section celebrated the Middle Eastern folk tales that inspired Disney's Aladdin.

A laser image of the Sultan's palace from Aladdin was projected on the mist screens. Images of swirling sands covered the screens, which revealed the Genie's lamp on the perimeter screens and the Cave of Wonders on the central screen. The moving arms on the perimeter screens were raised to form part of the lamp as its "spout" where four pink firework shells were launched. On the central screen, the mouth of the Cave of Wonders opened wide and as the image zoomed forward, Arabic geometric patterns could be seen moving past. A dancing, stylized Genie (rendered in the style of Arabic calligraphy) appeared on the central screen and "summon[ed]" the launching fireworks. More moving geometric patterns covered the screens before revealing the rooftops of Agrabah at nighttime and a silhouetted Aladdin and Jasmine riding the magic carpet. The Genie then returned to "summon" more fireworks on the perimeter screens before moving to the central screen to close the section.

India

This section celebrated the ancient Indian fable texts that partly inspired The Jungle Book, which was adapted into the 1967 Disney animated film of the same name.

Several orange searchlights and lasers flashed as chanting and electronic beats played overhead. The lights, lasers, and fountains took on a light green color as large, spiraling leaves covered the central screen. The spiraling leaf cover on the screens then parted to reveal a Tholu bommalata shadow play retelling of The Jungle Book. Dancing puppets of Baloo, King Louie, Mowgli, and the other animal and human characters, as well as swirling Indian patterns, were displayed on the screens. The fountains, searchlights, and lasers displayed alternating light green, orange, and blue light effects. A set of colorful fireworks were launched to close the section, as the images on the screens disappeared in clouds of colorful smoke (similar to the ones used during the Holi festivities).

China

This section celebrated the Chinese legends and literature that inspired Disney's Mulan.

A traditional Chinese painting of a magnolia tree's branches and its falling flowers covered the screens. Continuing the motif, the characters of Mulan, Fa Zhou, Mushu, a riding Chinese army, and various Chinese landscapes covered the screens. The fountains were lit in white and pink. A red and white laser image of the Taijitu symbol also appeared above the perimeter screens, as the music changed dramatically. The fountains were lit in red, as the screens displayed real-life martial artists performing movements from Chinese martial arts against an intense red background. In addition to fireworks shells, firecrackers were also launched from the moving arms to create a "firecracker storm" above the central screen. The section closed with images of Mulan in her traditional pink and blue hanfu and her warrior disguise on the perimeter screens, and an image of her riding Khan (her horse) on the central screen.

Africa

This section celebrated the African landscapes and fauna that inspired Disney's The Lion King.

An African tapestry of a young Simba appearedon the center screen, lit by circling pink, red, and purple fountains. Continuing the tapestry motif, a growing Simba was then seen traveling with Timon and Pumbaa and traversed the African landscape day and night across the screens. The fountains were lit in blue and red. A spinning continental map of Africa was then displayed on the central screen, while the animals of the Pride Lands could be seen traveling towards it on the perimeter screens. Red and green fireworks were shot off periodically to the beat of the music, while the fountains displayed blue and purple effects. A now-adult Simba and Nala could be seen frolicking in the forest, before the former encountered the spirit of Mufasa on the central screen and on the mist screen above it (through laser projection). The section closed with the images of Rafiki holding up a cub Simba over Pride Rock as Mufasa and Sarabi watch on the central screen and the animals bowed to him on the perimeter screens, as several red and green high-launch fireworks went off.

Europe

The Europe section was divided into two subsections. The first subsection celebrated the French literature that inspired two Disney films: Beauty and the Beast (adapted into the 1991 animated film of the same name) and The Hunchback of Notre-Dame (adapted into the 1996 animated film of the same name). The second subsection celebrated the Scottish mythology that has inspired Pixar's Brave.

Misty and dream-like images of Belle and the Beast slowly dancing in the ballroom covered the center screen, as a laser image of a rose appeared above the central screen and dropped a petal. The fountains were first lit in blue and pulsing yellow, and then red as the laser image changed into a heart. A singular perimeter firework was shot from the top of the America Gardens Theatre through the laser heart, and the images on the screens zoomed out to reveal stained glass windows (similar to those found in Notre-Dame de Paris) depicting Quasimodo and the cathedral itself. The fountains displayed blue, pink, and white effects. Several high-launch fireworks were used in this subsection, in addition to large white fireworks.

The Ring of Stones was laser-projected above the central screen. As the fountains' blue lights were flickering, several will-o'-the-wisps appeared on the screens, followed by wisps of red wavy hair. Animated woven tapestries depicting Merida, her family, the 3 clan leaders, and her family's crest were then displayed on the screens. The fountains were lit in brown and highlighted by green searchlights (depicting trees), before changing to a flickering blue and yellow. Several green and white fireworks were launched. The section closed with Merida riding Angus (her horse) across the perimeter screens and shooting an arrow to a target on the central screen, which triggered a set of green fireworks to go off.

Latin America

This section celebrated the Latin American (specifically Mexican) cultural traditions that inspired Pixar's Coco, except for Disney's Saludos Amigos.

A close-up image of a self-strumming guitar displayed across the screens opened the section, before transitioning to the Rivera family ofrenda (a home altar used during the Día de Muertos celebrations) lit with candles and filled with flowers. The fountains were lit in yellow and orange to depict the candles. The cempasuchil (Mexican marigold) bridges then covered the screens, before changing into hung strings of colorful papel picado (decorative banners) with animated elements. The moving fountains displayed colorful water effects, specifically blue, yellow, red, pink, violet, and peach effects. The screens then changed to show the swooshing folkorico skirts of real-life Mexican folk dancers, colorful calaveras (sugar skulls), and a close-up image of Pepita (Mamá Imelda's alebrije) with her wings unfurled. Multiple colorful fireworks, as well as high-launch ones, were used throughout the section. The section closed with a motif-pattern of colorful guitars and Miguel strumming a guitar while cempasuchil petals flew around him.

U.S.A.

This section celebrated aspects of African-American culture that inspired Disney's The Princess and the Frog.

Silhouetted images of a young and adult Tiana wishing on the Evening Star could be seen on the screens, as well as images of the bayou of New Orleans filled with fireflies. The fountains displayed bright purple and blue effects. As the music changed to be more upbeat, Louis the Alligator could be seen on the central screen playing his trumpet as laser images of colorful music notes are projected on the mist screens above. Fantastical imagery of the bayou and its dancing inhabitants (including Tiana and Naveen in their frog forms) — inspired by the work of Harlem Renaissance artist Aaron Douglas — then covered the screens, as flashing purple fountains, yellow and orange searchlights, and launched white fireworks moved to the music. The setting on the screens then changed to show downtown New Orleans, including a paddle steamer and several streetcars. The fountains were lit in blue, while purple, blue, orange, and yellow searchlights colored the skies. A flyer advertising "Tiana's Place" flew into view as the setting changed into a recreation of the "Almost There" sequence from the film. Multiple large, colorful firework shells, as well as several comets, were launched during this segment. Flashing pink and yellow and blue and green searchlights accentuated the scene. Silhouetted figures of The Firefly Five Plus Lou band, as well as a dancing Naveen in his human form, could also be seen on the perimeter screens. More colorful fireworks were launched as Tiana danced on the central screen while falling shimmering gold dust covered the perimeter screens to close the section.