Tokyo Neighborhood Guides: Things to Do in Yokosuka
Welcome to Yokosuka! In this Tokyo Neighborhood Guide to Yokosuka, we explore top places to visit and things to do. Sitting about 40 minutes south of Shinagawa on the Keikyu Line, Yokosuka is one of Kanagawa's most underrated coastal escapes near Tokyo. A working naval city with a proud maritime past, it wears its international influences on its sleeve. Think Japanese navy curry, American-style burgers, jazz bars, and seaside parks—all against the backdrop of Tokyo Bay sunsets. The neighborhood blends nostalgic energy with sea air.
Yokosuka's historical heart lies at Mikasa Park, where the legendary Mikasa battleship is dry-docked for all to explore. Once Vice Admiral Togo Heihachiro's flagship during the Russo-Japanese War of 1904–1905, this British-built warship is now a hands-on floating museum. It's the oldest surviving steel battleship in the world, and friendly staff help you navigate the decks and exhibits. The park besides it has musical fountains and sculptures with plenty of space for kids to roam. Bring a bento or grab a bite from nearby cafes.
82-19 Honcho, Yokosuka | ¥500
Dubbed 'Monkey Island' (though monkeys are long gone), Sarushima is Yokosuka's uninhabited island and a surreal escape just 10 minutes offshore. The remnants of military barracks, brick tunnels and open barbecue zones make it popular with families, couples, and yes—cosplayers. In peak season, the beach area fills up quickly, so get there early to claim a good spot. No dogs allowed, but plenty of photo ops and a rustic vibe that feels far removed from the mainland.
Board from Mikasa Pier | Roundtrip ferry: ¥2,000
Kannonzaki Park is a lush coastal zone with forest trails, playgrounds, and a panoramic view over Tokyo Bay. The Kannonzaki Lighthouse is open for visits, and the climb rewards you with breathtaking sea views. Pair your trip with a stop at the nearby Yokosuka Museum of Art, a glass-walled space featuring Japanese modernist and contemporary art. The onsite Acquamare restaurant serves Italian-inspired seasonal dishes with a view—book a window or patio seat if you can, but best in spring and autumn when the weather is nice.
4 Chome-1 Kamoi, Yokosuka | Free Entry
Dobuita Street is your go-to for these all-American-style beef giants. You can't get more classic than Honey Bee, which first opened its doors back in 1968 and still reigns as the original Navy Burger joint. Here, retro diner charm and long-established recipes bring you back to the good ol' days – expect juicy patties, saucy buns, and plenty of cheese. TSUNAMI is another local favourite, offering loaded combos, fun toppings, and even burgers named after U.S. presidents. Expect to pay around ¥1,400–¥2,000.
Thanks to its naval roots, Yokosuka proudly claims to be Japan's curry capital. Try Gyorantei, still going strong with its Meiji-era navy recipes and rustic maritime interior. For a full curry-themed experience, stop by Yokosuka Port Market (now renovated), where local vendors sell take-home packs and curry-inspired snacks.
Steps from Hashirimizu Beach, Kaneyo Shokudo is a laidback beach café serving summer cocktails and refreshing seafood plates. In Yokosuka itself, find award-winning ramen at Tokyo Bay Fisherman's Noodle. Located at the newly renovated Port Market, the ramen at this joint is made with 100% shellfish and uses a variety of clams to give the broth a gentle yet powerful flavor. Their Shio Ramen won first place in the Newcomer Award at the 2021 TRY Ramen Awards, whilst their Mazesoba won second place in the 'Soup Soba' category.
Want to explore more of Tokyo? Check out our Tokyo Day Trip guides to Okutama and Enoshima.
Live jazz every Saturday and a lovingly curated guitar shop upstairs. Relax in a vintage Showa-era atmosphere whilst the owner jams with guests.
Yokosuka's loudest live house, loved by locals and visitors alike. This tiny venue has a rowdy atmosphere that far exceeds its size.
Still one of the most atmospheric post-dinner stops in town. Vinyl-only jazz cafe/bar that serves craft cocktails in a smoky, intimate setting—perfect for winding down.
You might also like reading: Why Japanese People Don't Say 'I Love You'
Yes, it's still standing! Yokosuka's beloved Godzilla slide is the crown jewel of this sprawling floral park. Come in May for the poppies, or fall for cosmos season. The park is also a ferry port to Chiba.
Boasting sweeping views across Tokyo Bay, this hot spring complex features several different baths and facilities to aid relaxation, including an open-air bath, reclining bath, carbonated hot spring, sauna, relaxation area, and restaurant.
Beyond the main tourist trail, Yokosuka's side alleys—especially around Yonegahama and Honcho—offer Showa-era izakaya, coffee dens, and vintage snack bars still untouched by time. Step off Dobuita for a more local, low-key encounter.
To get to Yokosuka from Shinagawa Station, take the Keikyu Line to Yokosuka-Chuo (approx. 40 mins). Most major sights are walkable or reachable by local bus. Ferries for Sarushima depart from Mikasa Pier. Kannonzaki is accessible via bus 24 from Yokosuka-Chuo.
English menus are common, but not guaranteed.
Many restaurants are closed on Mondays or Tuesdays.
Best visiting season: May–June and late September for mild weather and fewer crowds.
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Japan Today
14 hours ago
- Japan Today
Stay in style: Art hotels and creative lodging in Kyoto
Quirky art awaits at the Hotel Anteroom Kyoto throughout the entirety of its grounds. By Kimberly Hughes As with other highly-traveled destinations, Japan has no shortage of unique accommodation options. These include numerous inns incorporating explicitly artistic touches, such as one styled around a treehouse in Okinawa and another that's a denim-themed guesthouse in the Kojima district of Kurashiki, Okayama (known as Japan's 'jeans capital'). This article introduces two artistically themed inns in Kyoto to keep on your radar for future getaways. While differing from the more traditional accommodation experience in Japan's ancient capital, such as a stay in a ryokan (traditional Japanese inn) or a machiya (townhouse), both of these options offer an opportunity to experience Kyoto's local culture through the unique lens of innovative modern art and design. Ace Hotel Kyoto: Portland cool meets Kyoto craftsmanship Featuring a copper donut-shaped front desk, with unique overhead lighting and wooden beams, Ace Hotel Kyoto is infused with art on every level. Image: Kimberly Hughes Established in 2020, this hotel is part of the global Ace Hotel network, whose first location was repurposed in 1999 from a fisherman's inn in the U.S. city of Portland, Oregon — setting the tone for the brand's ethos of craftsmanship and community. Ace Hotel Kyoto similarly represents a restoration project, featuring two legendary architects working one century apart. It is housed in the atmospheric Shinpuhkan complex, which was designed in the 1920s as the Kyoto Central Telephone Office by leading modernist Yoshida Tetsuro. The present-day structure features the work of Kengo Kuma — including a majestic kigumi (wood joinery) timber ceiling — with additional collaboration from Atelier Ace and Commune Design. Equal parts cozy and chic, the Ace Hotel Kyoto's lobby area invites lounging with friends while gazing at onsite art installations. Image: Kimberly Hughes The hotel grounds brim with the works of local and far-flung artists and designers alike. Lobby accents include copper light fixtures, works from famed katazome (stencil dyeing) artist Yunoki Samiro and verdant foliage homed in earthy, chunky pots created by artist and fisherman Kazunori Hamana. The first-floor exhibition space features artworks from guest creators, which include a rotating lineup of international, multigenre artists-in-residence. A long working table and comfy couch area serve as a community hub — perfect for enjoying a seasonal latte from the adjacent Stumptown Coffee Roasters, a Portland classic. The chilled-out playlist features everything from ambient jazz to funk, with live DJs often spinning for events. Artworks also dot its three onsite restaurants: Kosa, featuring impeccably-presented seasonal local cuisine; Mr. Maurice's Italian, whose specialties include wood-fired pizzas and rooftop cocktails; and Piopiko, an uber-stylish bar and taco lounge. Even the food is an artful affair at the Ace Hotel — including this matcha-dusted, vegan black sesame panna cotta at its stylish Kosa restaurant. Image: Kimberly Hughes While visitors are welcome to enjoy this veritable festival of art in the hotel's restaurant and common spaces, in-room features are of course available exclusively to overnight guests. These include soaking tubs, vinyl turntables, Tivoli radios and Gibson guitars; along with exclusively-designed fabrics, furniture inspired by Charlotte Perriand's work during her World War II-era Japan sojourn, and in-room artworks from Japan's Mingei folk artist movement. While such extravagance naturally comes with a price, off-season rates do run lower; and there are also special deals for Japan residents. Besides its design-oriented accolades, the hotel has additionally received recognition for its diversity-related efforts — including a 2025 Japan Travel Award for its consistent support of LGBTQ+ guests. Hotel Anteroom Kyoto: A contemporary stay with artistic flair Cafe by day and bar in the evening, this space also serves as a spot to gaze at creative art installations. Image: Kimberly Hughes Lying four kilometers due south, this hotel — in the midrange budget category — is significantly more compact in size than the Ace Hotel Kyoto, and offers an altogether different vibe; although no less of an artistic experience. Fronted by a rock garden, along with strategically-positioned lights that cast a soft glow after dark, this inn exudes style even before you first enter. Once a student dormitory, its interior has been renovated in the style of a smart boutique hotel, replete with clean neon-white signage and a spacious area for guest dining. There is also a separate café, open to the public, that turns into a chilled-out bar at nighttime (think Portishead over a dram of whisky). Artistic elements also abound here. There are two styles of rooms — concept and standard — with those in the concept category each showcasing the works of a specific artistic individual or entity; and interesting artworks even featuring in the standard rooms. The first-floor lobby also serves as a space to host exhibitions and events, along with pop-up shops selling artworks and various goods. Even walking down the hallway at the Hotel Anteroom Kyoto feels artsy. Image: Kimberly Hughes In one recent exhibition, titled 'The Box of Memories', the first-floor main space and wall corridor were lined with works that recounted the history of Kumagusuku — another local art hostel, with roots in the Setouchi Art Triennale event, which closed its doors earlier in 2025. All featured artists have a close connection to Kyoto, so between the deeply local exhibitions and the informational clearinghouse-style space filled with racks of pamphlets covering the city's artistic happenings, a stay at the Hotel Anteroom Kyoto affords an intimate window into Kyoto's artistic scene. Since the hotel also has locations in Naha, Okinawa and Seoul, Korea that feature a similar vibe, the next time you visit those cities you can take the opportunity to get artsy there, as well. Find more information on these art-oriented Kyoto hotels here: Ace Hotel Kyoto 245-2 Kurumayacho, Nakagyo-ku, Kyoto, Kyoto 604-8185, Japan Tel: 075 229 9000 Website: Ace Hotel Kyoto Hotel Anteroom Kyoto 7 Aketa-cho, Higashi-Kujo, Minami-ku, Kyoto, 601-8044 Japan Tel: 075 681 5656 Website: Hotel Anteroom Kyoto © Japan Today
The Mainichi
17 hours ago
- The Mainichi
Retracing the steps of Japanese literary scholar Keene along 'The Narrow Road to Oku'
It was in the late spring of 1955 that Japanese literature scholar Donald Keene first traveled to northeastern Japan's Tohoku region to follow the steps of Edo period poet Matsuo Basho (1644-1694) in his masterwork "Oku no Hoshimichi," which Keene later translated as "The Narrow Road to Oku." Seventy years later, in April 2025, admirers of Keene including this reporter undertook the same journey. We called it "a journey following the young Keene, who followed Basho." The first leg of the trip took us to the town of Matsushima in Miyagi Prefecture, the town of Hiraizumi in neighboring Iwate Prefecture, and Yamadera temple in Yamagata Prefecture, where we were greeted by cherry blossoms in each location. Keene's initial journey took place near the end of his two years of study at Kyoto University from 1953. In an autobiography, he wrote, "For a time, I had considered actually walking the entire distance. ... In any case, unlike Basho, I could spend only a few weeks on these travels." He also wrote that "at every spot the cherry blossoms had just reached their peak," meaning that he likely traveled there between mid and late April. Details of this journey were published in the June 1955 issue of the literary magazine Chuo Koron under the title "Komo Oku no Hosomichi" (loosely translating as "Westerner's narrow road to Oku). Below, we draw on this travelogue, originally written in Japanese, and Keene's translation of "The Narrow Road to Oku." Shiogama After passing through Nikko and Shirakawa Barrier, Keene arrived in Sendai. At that time, the occupying forces were still stationed in the city, likely reminding him of his past role as a Japanese language interpreter for the military. On arriving at Shiogama Shrine in the evening, he first sought out the "lantern presented by Izumi no Saburo in the third year of Bunji [1187]," and wrote, that he was thrilled to realize that Basho had seen the same lantern. The lantern still stands as it did then, to the right of the main hall. Let's read Keene's translation of "The Narrow Road to Oku." Shiogama Early the next morning we visited the Myojin Shrine in Shiogama. As rebuilt by the governor of the province, the shrine has imposing pillars, colorfully painted rafters, and flight upon flight of stone steps. The morning sun was shining brightly on the vermilion lacquered fence around the shrine. I was profoundly impressed to think that it was typical of our country for the miraculous manifestation of the gods to have occurred in so distant a place, at the very end of the world. Before the shrine is an old lantern. A metal door bears the inscription, "Presented by Izumi no Saburo in the third year of Bunji [1187]." It was strange how these words evoked scenes of five hundred years ago. Izumi was a brave and loyal warrior whose fame has lasted to the present; there is no one who does not hold him in esteem. It has been truly said: "A man should practice the way and maintain his righteousness. Fame will follow of itself." It was already close to noon. We hired a boat and crossed to Matsushima. After another five miles on the water we arrived at the beach of the island of Ojima. Matsushima Keene entered Matsushima, one of Japan's three most scenic spots, via Tagajo, traveling by train. Having heard negative comments like "Matsushima is a dirty place" from people along the way, he boarded the sightseeing boat "preparing to be disappointed." However, a woman's voice came over the loudspeaker carefully explaining the names of the islands, and though it was raining, he said, "I was neither disappointed nor impressed." Furthermore, the twilight view from his inn was magnificent, leading him to conclude, "I was moved no less than Basho was. If 'the finest scenery in the land' exists in Japan, I believe it is in Matsushima." Perhaps this was an example of the large difference between hearing and actually seeing. Below is Keene's translation of Basho's description of Matsushima in "The Narrow Road to Oku." Matsushima No matter how often it has been said, it is nonetheless true that the scenery at Matsushima is the finest in Japan, in no way inferior to Tung-t'ing or the Western Lake in China. The sea flows in from the southeast forming a bay seven miles across, and the incoming tide surges in massively, just as in Che-chiang. There are countless islands. Some rise up and point at the sky; the low-lying ones crawl into the waves. There are islands piled double or even stacked three high. To the left the islands stand apart; to the right they are linked together. Some look as if they carried little islands on their backs, others as if they held the islands in their arms, evoking a mother's love of her children. The green of the pines is of a wonderful darkness, and their branches are constantly bent by winds from the sea, so that their crookedness seems to belong to the nature of the trees. The scene has the mysterious charm of the face of a beautiful woman. I wonder if Matsushima was created by the God of the Mountains in the Age of the Gods? What man could capture in a painting or a poem the wonder of this masterpiece of nature? On Ojima, an island connected to the mainland that thrusts out into the sea, are the remains of the Zen master Ungo's hut, and the rock upon which he used to meditate. I caught glimpses here and there under the pines of priests who had abandoned the world. They live quietly in thatched huts from which even at that moment smoke from the fallen pine needles and cones they use as fuel was rising. I did not know what manner of men they might be, but I felt drawn to them. As I walked in their direction I could see the moon shining on the sea, and the scenery of Matsushima quite unlike what it had been during the day. I returned to the shore and took a room at an inn, a two-story building with open windows looking out over the bay. When I lay down to sleep in the breeze and the clouds, I experienced a feeling of strange pleasure. Matsushima ya / tsuru ni mi wo kare / hototogisu (Sora) At Matsushima / Borrow your plumes from the crane / O nightingales! I lay down without composing a poem, but was too excited to sleep. I recalled that when I left my old cottage I was presented by Sodo with a poem in Chinese about Matsushima, and with a tanka by Hara Anteki on Matsugaura Island. I opened my knapsack and made these poems my companions for the night. There were also hokku by Sanpu and Jokushi. On the eleventh we visited the Zuigan-ji. Many years ago, thirty-two generations before the present abbot, Makabe no Heishiro entered Buddhist orders, went to China for study, and founded this temple after his return to Japan. Later, the seven halls of the temple were rebuilt as the result of the virtuous efforts of the Zen monk Ungo. Now the temple has become a great hall of worship, the golden walls shining with a splendor worthy of Buddha's paradise. I wondered where the temple of the Holy Man Kenbutsu might be. Keene himself visited Zuiganji temple, and was moved, writing, "Having been repulsed by the gaudiness of Toshogu Shrine (in Nikko), I was impressed by the solemn beauty of Zuiganji." This was a typical reaction for Keene who preferred simplicity over extravagance. The row of cedar trees that once stood in front of the temple's gate fell to the tsunami following the March 2011 Great East Japan Earthquake and young trees now grow in their place -- a lone display of the passage of time. Keene noted that he enjoyed the famous "Koren senbei" rice crackers at a nearby teahouse saying they were delicious, so we stopped by as well. Although the building had been newly rebuilt, the delicately flavored senbei remained unchanged. Hiraizumi Keene proceeded to Hiraizumi via Ichinoseki. The persisting rain amazingly cleared, and he visited the local temple Chuson-ji amid the full bloom of cherry blossoms. He wrote, "Until I embarked on the journey of 'The Narrow Road to Oku' I couldn't understand the Japanese attachment to cherry blossoms." He drew a comparison with his visit to Yoshino in Nara Prefecture the previous year (1954). The fact that Yoshino was renowned as one of the best cherry blossom spots in the Kansai region may have raised his expectations, but he was left disenchanted with the cherry blossoms in the tourist area, which had become secularized, writing, "I noticed the lunch boxes, drunks, and vulgar music blaring from loudspeakers." Hiraizumi, on the other hand, offered a different experience. "After the long Tohoku winter, the cherry blossoms blooming in the black forest show their true beauty," he wrote. It was here that his ideal cherry blossom landscape stretched out. Among this, the brilliance of the temple's Golden Hall (Konjikido) was even more stunning. Keene praised it, saying, "Since coming to Japan, I've been captivated by wonderful Buddhist statues, feeling they embody absolute beauty. ... However, it was when I saw the inner sanctum of Chuson-ji that I was struck by beauty to the point of trembling, losing myself and entering a world beyond this one. ... I believe it is one of the finest expressions of paradise created by humans in the world." Later, Hiraizumi would be registered as a cultural World Heritage site, but Keene had already sensed its value. Incidentally, Basho visited Hiraizumi in the fifth month of the second year of Genroku (1689) according to the old lunar calendar, which would have been during the rainy season. How did Basho evaluate Hiraizumi? Let's read the original text translated by Keene. Hiraizumi The three generations of glory of the Fujiwara of Hiraizumi vanished in the space of a dream. The ruins of their Great Gate are two miles this side of the castle. Where once Hidehira's mansion stood there are now fields, and only Golden Cockerel Mountain retains its old appearance. We first climbed up to Palace-on-the-Heights, from where we could see the Kitakami, a big river that flows down from Nambu. The Koromo River circles Izumi Saburo's castle, then flows into the big river below Palace-on-the-Heights. The ruins of Yasuhira's time are on the other side of the Koromo Barrier, seemingly to protect the Nambu gateway from intrusion by the Ainu. It was at Palace-on-the-Heights that Yoshitsune and his picked retainers fortified themselves, but his glory turned in a moment into this wilderness of grass. "Countries may fall, but their rivers and mountains remain; when spring comes to the ruined castle, the grass is green again." These lines went through my head as I sat on the ground, my bamboo hat spread under me. There I sat weeping, unaware of the passage of time. natsukusa ya / tsuwamono domo ga / yume no ato The summer grasses -- / Of brave soldiers' dreams / The aftermath. unohana ni / Kanefusa miyuru / shiraga kana (Sora) In the verbena / I seem to see Kanefusa-- / Behold his white hair! The two halls of the Chuson-ji, whose wonders I had heard of and marvelled at, were both open. The Sutra Hall contains statues of the three generals of Hiraizumi; the Golden Hall has their coffins and an enshrined Buddhist trinity. The "seven precious things" were scattered and lost, the gem-inlaid doors broken by the wind, and the pillars fretted with gold were flaked by the frost and snow. The temple would surely have crumbled and turned into an empty expanse of grass had it not been recently strengthened on all sides and the roof tiled to withstand the wind and rain. A monument of a thousand years has been preserved a while longer. samidare no / furinokoshite ya / Hikari-do Have the rains of spring / Spared you from their onslaught, / Shining Hall of Gold? (Japanese original by Tadahiko Mori, The Mainichi Staff Writer and Donald Keene Memorial Foundation director) This is a spinoff article related to a 60-part Mainichi Shimbun series about Donald Keene, exploring the near-century of the Japanologist's life along with his own writings. Spinoff articles are posted irregularly. The original text of Donald Keene's autobiographies is used with permission from the Donald Keene Memorial Foundation. The foundation's website can be reached at:
Kyodo News
18 hours ago
- Kyodo News
FEATURE: Cruise boom buoys Japan's post-pandemic tourism
By Keiichiro Otsuka, KYODO NEWS - 19 hours ago - 10:42 | Feature, All, Japan, Travel/Tourism When the Diamond Princess was quarantined off Yokohama in the early stages of the COVID-19 pandemic in 2020, Japan's cruise industry ground to a halt, its future clouded by fear and uncertainty. Today, that industry is roaring back. Demand for maritime journeys with swimming pools among a host of luxury amenities and entertainment has surged due to pent-up wanderlust and a wave of new investments. Japanese ports are seeing record domestic passenger numbers, signaling not just a revival in leisure travel, but a broader boost to local economies that rely on tourism. Japan, an archipelago of over 14,000 islands and one of the largest economies in the world, has a relatively small cruise industry and modest vessels compared to the U.S., home of giants like Carnival Cruise Line. According to the Ministry of Land, Infrastructure, Transport and Tourism, however, the Japanese cruise market grew significantly in 2024, increasing by 14.2 percent year-on-year to 224,100 passengers. The number of international visitors entering Japan by cruise ship quadrupled to 1.4 million, nearly 60 percent of the record set in 2017. Kentaro Matsuura, president of cruise travel agency Yutaka Club (Tokyo), estimates domestic passengers will exceed 250,000 in 2025 and may approach the 2019 record high of 356,600 next year. With their core cargo business hit hard by U.S. President Donald Trump's import tariffs, Japanese shipping giants are developing cruise ships into thriving businesses that can produce stable income streams. Due to tariffs, shipping companies NYK Line and Mitsui O.S.K Lines Ltd. (MOL) forecast 47.7 percent and 60.0 percent year-on-year declines in net profits, respectively, in their consolidated financial accounts for fiscal 2025. NYK Cruises will launch the Asuka III on July 20, expanding its fleet to two ships, while Mitsui Ocean Cruises will add a third ship in the latter half of next year. On the evening of May 5, the Mitsui Ocean Fuji, which MOL began operating in December 2024, passed under Yokohama Bay Bridge. Nearby, in the Port of Yokohama, Mitsui's Nippon Maru was awaiting departure. Also docked was the Cunard luxury liner Queen Elizabeth. "I look forward to seeing the Asuka III," said a man viewing the ships. At 52,265 gross tons and 230 meters long, the Yokohama-based Asuka III will be the largest passenger ship in the Japanese fleet. It will be decorated with frescoes by Japanese painter Hiroshi Senju, giving it the feel of a floating art gallery, and all 381 cabins will have private seaside balconies. Her maiden voyage from July 20 to 26 will be from Yokohama to Hakodate and Otaru in Hokkaido. The costs per passenger will be between 984,000 yen ($6,800) and around 4.80 million yen. In February, NYK Line and its subsidiary Yusen Cruises reached a basic agreement on a business alliance in which Oriental Land, which operates Tokyo Disney Resort, will take over the operation and management of cruise ships scheduled to enter service in fiscal 2028. The main departure and arrival port will be Tokyo Bay, and shows featuring Mickey Mouse and other Disney characters will be held on board. A second vessel is also being considered for service. To keep up with its rival, Mitsui O.S.K. Lines in March announced that it had also bought an additional sister ship (32,477 gross tons) from the U.S.-based Seabourn Cruise Line, the seller of the Mitsui Ocean Fuji hull, to begin operations in the latter half of next year. "Mitsui Ocean Fuji has received a very positive response from customers due to the fact that they can enjoy the expansive ocean views from their cabin verandas," said MOL President Tsunemichi Mukai, adding that the addition of a sister ship will only strengthen the company's ability to attract customers. The company plans to build two passenger ships at a European shipyard and launch them in the near future. Related coverage: Former Diamond Princess passengers mark 5 yrs since COVID outbreak Disney Cruise Line makes Singapore its 1st home port in Asia
