Colombia Celebrates Epic Black and White Carnival of Creativity And Shared Memories

This article took you to the heart of Pasto’s Black and White Carnival, a centuries-old celebration honored by UNESCO. More than one million exuberant revelers formed a vibrant festival that transcended cultural boundaries, from spectacular floats to artistic dances.

The Heart of Pasto

Every year, between January 2 and 6, the bustling capital of Colombia’s Nariño department welcomed immense crowds for one of the most splendid cultural gatherings in South America. Nestled in the southwest of the country, Pasto transformed into an explosion of color, music, and communal revelry as the Black and White Carnival (Carnaval de Negros y Blancos) unfolded. In 2025, the carnival once again delivered on its promise to be an immersive, life-affirming spectacle that united locals and visitors from around the globe.

The event’s main parade, the Desfile Magno, formed the crown jewel of this multi-day fiesta. Crowds began streaming into the streets at dawn to secure the best spots along the parade route, which spanned nearly 4.35 kilometers. In a big parade, over 25 giant floats ‒ some as long as 15 meters and as tall as 10 meters ‒ moved past a surprised crowd. These floats entered different contests showing the skill and creativity of local artists, who spent months carefully turning simple drawings into detailed moving sculptures.

The carnival’s deep cultural and historical roots go back hundreds of years to a mix of native Andean customs, Spanish celebrations, and African influences. People felt proud because the event included everyone and involved the whole community. Back in 2009, UNESCO called it a Masterpiece of the Oral and Intangible Heritage of Humanity ‒ this special recognition showed the carnival’s high importance and pointed out its role in keeping old local customs alive.

Among the crowd of eager spectators, enthusiastic participants covered themselves with talcum powder, foam and bright colors ‒ exchanging playful actions that showed the spirit of equality and friendship at the heart of the celebration. There was a remarkable harmony in mixing races, social classes, and age groups; for those few days, Pasto became a microcosm of a unified Colombia. Street performers, musicians, dancers, and whole families converged, turning neighborhoods into open-air stages for spontaneous merriment.

Local leaders ‒ like the mayor of Pasto ‒ talked about the city’s significant financial gain during carnival time. Many visitors ‒ some say more than 100,000 ‒ filled hotels, restaurants, and shops, giving important help to local businesses. ‍However the carnival focused on more than just earning money. This event celebrated a very old tradition of community support, creative artistry and cultural pride ‒ raising the southwestern corner of Colombia into international attention.

A UNESCO Treasure

The Black and White Carnival earned its UNESCO status for several compelling reasons. According to the organization, the festival reflected centuries of cultural fusion among Indigenous Andean rituals, African heritage from the time of slavery, and Spanish colonial practices. The carnival’s modern form took shape gradually, absorbing—and sometimes subverting—elements of European festivities while preserving unique pre-Hispanic symbols. UNESCO celebrated how it fostered unity in diversity and offered insight into humanity’s shared cultural wealth.

In Pasto, the festivities revolved around two main symbolic days: the Día de Negros (Day of the Blacks) and the Día de Blancos (Day of the Whites). These references were historical and tied to the days when enslaved Africans had a single day off to celebrate their lives and heritage. On Día de Negros, carnival goers joyfully smeared each other with soot or black paint ‒ recalling times when enslaved people celebrated rare moments of freedom with visible happiness. On Día de Blancos, people switched to lighter powders, talc, and foam ‒ finishing a ritual symbolizing equality, brotherhood, and respect for ancestral heritage.

Over several days, the carnival scheduled many concerts, parades, and cultural gatherings. From the Ofrenda de las Mercedes to the celebrated Canta a la Tierra performances, the carnival brimmed with references to Andean worldviews, Catholic influences, and collective memory. Floats carried mythological figures from local legends alongside references to universal themes such as the sacred and the profane. Marching bands, traditional dance troupes, and costumed individuals shared the roads, turning Pasto’s streets into an enormous open-air theater.

Crucially, the carnival’s artistry demanded months of preparation. Artisans, sometimes in groups of up to 50 people, brainstormed designs that started as simple sketches on paper. They then built small mock-ups to tackle engineering challenges and structural stability, particularly when the floats measured several meters in height. Thanks to a dedicated workspace called “la Ciudadela Carnaval,” these builders worked safely in a single compound without disrupting traffic or everyday life. The municipality of Pasto granted each officially accepted group a financial aid package of nearly 72 million pesos (about 16,500 USD) to support float-building expenses.

Even with the busy building process, a strong feeling of friendship filled the project. Whole families spent time painting, sculpting, and creating costumes. In many homes, living rooms became workspaces during nights and weekends in the months leading up to the carnival. Kids learned from older family members ‒ gaining wisdom about local stories, color choices, and why some materials mattered. These teachings did more than teach skills; they created connections between generations ‒ blending the carnival story into family tales and community identities.

Day-by-Day Festivities

The carnival lasted several days, and each day had its own events, parades, and special actions. ‍On January 2, children took center stage during the “Carnavalito” ‒ a smaller parade celebrating tradition’s future. Young ones donned vibrant costumes filling the streets with music and dreams. This way the carnival spirit lived on for generations. Activities often started as early as 7:00 in the morning with an Ofrenda de las Mercedes ‒ mixing faith and folklore ‒ followed by parades and concerts with rock, salsa, or other local music styles.

On January 3, the focus moved to dance groups that performed in a parade called “Canto a la Tierra.” This parade honored the land and its people, recognizing the Andean roots that form much of Pasto’s culture. Visitors could enjoy afternoon concerts with campesino music or “cantos de vida,” connecting the region’s rural past with modern art. The mix of tradition and new ideas showed how the carnival stayed essential to today’s people.

January 4 marked the coming of the “Familia Castañeda,” an old custom that showed the joining of rural and city identities. The parade was full of funny scenes of daily life ‒ comedic acts that cheerfully reflected social realities. For many locals, these “characters” evoked cultural icons passed down through oral storytelling, revealing how Pasto’s carnival served as a memorial to daily life as much as an artistic showcase. By mid-afternoon, the city erupted into a “Rumba Carnavalera,” drawing crowds into an energetic dance session that lasted well into the night.

On January 5, known as the Día de Negritos, the mood shifted toward a more profound historical reflection on the liberation of enslaved Africans. Revelers painted their faces with dark hues—a practice that once served as a form of disguise and social leveling and later became a playful symbol of unity. The streets echoed with laughter, music, and calls of “¡Una pintica, por favor!” inviting friends and strangers alike to share in the revelry. The “Rumba Carnavalera” persisted as evening fell, uniting thousands in an open-air party.

January 6 featured the Desfile Magno, or Gran Desfile, which represented the peak of the carnival. This was the day of “banquets,” when participants threw talcum powder, foam, and flour, ensuring everyone shared a uniform, chalky appearance. Officials meticulously arranged the participants—some 30 individual costumes, 30 comparsas (dance troupes), and 24 floats—so each artistic expression could shine. Floats usually showed local stories, timeless myths, or funny views on current problems. The carnival’s imagination felt endless, touching everything from holy themes to daily life.

The carnival will end today with events that blend the spiritual and the joyful ‒ honoring the season’s repeating cycle. Streets fill with echoes of the previous days’ music and remain adorned with decorations. Children still buzz with excitement, recounting their favorite floats or dances, while elders reflect on how the carnival has evolved over the decades. Even though the official itinerary wraps up, the essence of joy continues to resonate in every corner of Pasto.

The Heart of Colombian Culture

Beyond being a yearly occasion, the Black and White Carnival symbolized how cultural events brought people together in Colombia. Even with the country’s varied landscapes and rich history, festivals like this showed the strength and imagination of the Colombian folks. The carnival became a miniature version of the country’s many cultures by mixing parts of ancient ceremonies, African customs, and Spanish colonial parties.

In line with this idea, the Colombian Ministry of Cultures, Arts, and Knowledge showed how the carnival supported fairness, respect for people’s rights, and peaceful living. Organizers made the festival open to everyone, with most events free to attend. Local families welcomed relatives from far away, building new connections and renewing old friendships. Shared street activities broke down social walls, showing a common desire for peace.

Musical concerts ‒ like Rock Carnaval and Nariño Musical ‒ moved away from only traditional styles by adding modern music. This mix showed that the carnival was not a fixed event but a lively celebration shaped by what each generation liked. Pasto’s neighborhoods held their parties, with food fairs featuring Andean ingredients like potatoes and corn and craft markets with old and new designs.

Many visitors found the carnival’s best moments in sudden street gatherings or public parks. People shared meals, told stories, or danced to drumbeats made up on the spot. This personal side of the festival felt as exciting as the big floats and official parades showing the genuine warmth that defined the region ‒ a friendliness driven by the Andean spirit of community care.

Meanwhile, organizers improved logistics. By creating a private area for artists to work, the city lessened traffic and made a safer space for creative activities. Police managed traffic on outer roads; volunteers helped newcomers find parade spots and emergency services stayed ready for unexpected events. This careful planning made it easier for families to enjoy events and gave tourists a less stressful cultural experience.

The economic boost from these festivities became another critical result. Restaurants served local foods like locro de papa (a filling potato soup) and cuy (guinea pig), attracting visitors eager to taste unique regional flavors. Hotels and guesthouses filled, while artisans sold handwoven textiles and carnival-themed souvenirs. Officials guessed that the event brought in millions of dollars from tourism ‒ a vital income for Nariño, often overlooked by Colombia’s large cities.

At its heart, the Black and White Carnival symbolized cultural tradition ‒ a grand show of how customs lived on and flourished. It reminded Colombians and visitors that heritage could be celebrated, not forgotten, that diversity made unity richer, and that a joyful group spirit could briefly connect social and economic gaps.

When the festivities ended on January 6, artisans disassembled their detailed floats, stored leftover materials, and considered the season’s successes. Children who watched the spectacle got ready to go back to school, full of stories about painted faces and outstanding performances. Tourists left carrying home souvenirs and precious memories of shared joy, artistic wonder, and cultural acceptance. Pasto’s local population gradually resumed its everyday routines in the wake of the carnival, yet the echoes of music and laughter continued to reverberate in people’s minds.

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The Black and White Carnival was thus no mere yearly occasion. Colombia showed its ability for togetherness ‒ rooted in the inventive strength of a group that encountered difficulties yet always upheld genuine culture. Every January, the routine returned ‒ bringing fresh energy to ancient customs and confirming that while festivities might finish, the spirit of teamwork and shared joy stayed alive. Art and heritage converged in an exuberant festival that showed how color, tradition, and mutual respect could transform days into something far more than ordinary in the Andean highlands of southwestern Colombia. And on January 7—today—the carnival closes in a final flourish, leaving behind a promise that its joyous legacy will endure.