These were all duly framed in the religious calendar, mainly with the festivities of the Virgen de las Mercedes, (Virgin of Mercy, 24 September) and the Immaculate Conception of Mary (8 December).

The Blancos game, an important part of the carnival, was born at the dawn of Three Kings' Day (6 January) in 1912, founded on the need to express imagination, play, friendship and share the joy that on those dates revives life.

In a fine and exclusive brothel in the city, The House of the Robby Ladies, located on Calle Real (current Carrera 25), the daring of the group of tailors from the famous tailoring shop owned by Don Ángel Zarama, among whom Ángel María López and Máximo Erazo were there, he takes them to take the French compact of one of the most sought-after ladies and proceeds to spread the powder with women's perfume among all those present with the cry of ¡Vivan los Blanquitos!, as a response to the already traditional game of Negros.

On 6 January 1926, senior students from the high schools and the University of Nariño decided to participate actively in the party, choosing as his queen to Romelia Martinez, and go out through the streets dressed in carnival costumes and dancing to the regional music.

At three p.m. when the riders were ready for the parade, a whole family arrived, there was the father, the mother, two girls, two boys, and three young men who rode tired nags and who were followed by laborers who herded the mules charged with trunks, and trying the pigs and sheep did not disband.

The father was an Antioqueño settler traveling with all his family, who after spending many years in the east (Putumayo Department), had decided to leave the jungle to return to "civilized" earth.

Alfredo Torres and Carlos Martínez Arellano Madroñero, parade organizers, ordered, two of the ride to open countryside and no shorts or lazy included the tired travelers among the cavalcade.

The decades of the 1930s and 1940s watched a structured Carnival, and before the advent of the first heavy industries, acquired presence and prominence in folk art, particularly the creative expression of the artisans represented in monumental paper sculptures, just like mobile motorized scenarios built on trucks, the famous floats.

During this time, the Mayor of Pasto (sometimes with the participation of the Government of Nariño) began to take control of the organization of the festivities, especially the appropriation of resources to fund the awards for best floats, which were extended soon to the comparsas and murgas.

In the late 1960s, the search and recruitment of national and international commercial orchestras was started, the most famous were Venezuelan Los Melódicos, Billo's Caracas Boys and Ecuadorian Medardo and his Players.

[4] In 1966, thanks to Don Mario Fernando Rodriguez, arises in the Bolivar neighborhood, the Carnavalito, or Children's Carnival, this autonomous party will take at least a decade in joining the official program.

With the arrival of the Pan-American Highway in the 1970s and the greater inclusion of Pasto in the Colombian economy, the Carnival was renewed with the presence of new trends in materials handling, new rhythms and a growing stream cultural advocated by the rediscovery of the Quillacingas roots following with the activism in the Great Parade or Whites' Day.

The predominant note is that throughout the southwestern region of Colombia, became widespread festivities that coincided with the end-of-year celebrations that took borrowed elements of the now popular Blacks and Whites' Carnival.

With these achievements, new era began for this event, characterized by the planning, organization, dissemination, research and modernization, taking priority for the promotion of culture and addressing controversial issues like whether or not to negotiate the broadcast rights for radio, television and internet.

Now, the Blacks and Whites Carnival has been officially included in government plans of the municipality of Pasto, but managed by an autonomous office, which had as its main project, its recognition and accreditation with the international community and agencies such as the Unesco, definitively introducing these celebrations in the globalized world, such as Intangible Heritage of Humanity.

What was initially a day to do tricks, practical jokes, and spread hoaxes on the unwary, became a questionable game with water based on the desire to tease or surprise the unsuspecting, innocent pedestrians, soaking them completely.

Moreover, since the late twentieth century, there have been advanced alternative activities that seek to provide the public recreation and culture without losing the carnival sense on 28 December among them are the innocent tour and the rainbow on the asphalt.

In 1996, as a cultural and ecological alternative to the water carnival and collecting student initiatives from the Arts Department of the University of Nariño, establishing the proposed "Rainbow in the Asphalt".

The winning design is burned in the Plaza del Carnaval at the end of that day, amid the popular festivities which usually organize the municipal authorities to receive the new year, and may in fact at that time the city begins to be invaded with playful and cathartic spirit of near carnival.

Starting in 2006, was banned the sale of Christmas gunpowder in the city, as established by Decree 0207 April 2005 as Mayor of Pasto and Corpocarnaval are the only entities authorized to organize events with fireworks to welcome the new year.

The permanence of this event for several years in the program has encouraged the emergence of products that combine rock and traditional music inspirations giving birth to new rhythms such as "Son Sureño Punk" and "Metal Pastuso".

A recent evening parade also takes place on 3 January: it's a tribute to andino sense, the mother land, and ancestral memory, with large groups of musicians and dancers.

By tradition, the Carnival Queen travels through the city in a convoy, handing out cosmetics and inviting VIP tourists to join the game under the phrase: "¡Una pintica por favor!"

The importance of this day is all urban Pastusos, vented their repressed desires, since the cosmetic serves like a mask and at the same time to homogenize all social classes and ethnic groups as one great family settled on the slopes of Taita Urcunina.

The majority of citizens and thousands of tourists and visitors crowd the streets to witness this parade, cheering and throwing confetti or streamers to the participants, all dancing to traditional and typical songs, such as the famous The Guaneña, El Trompo Sarandengue, The Southern Son, Chambú, Agualongo and the obligatory Sandoná masterpiece of bandsman Jorge Mideros; also are performed sayas and generally unpublished Andean compositions that premiere each year.

The originality and quality of such expressions is evaluated by a national panel of experts (sometimes international), with knowledge in visual arts and to ensure not only fairness but winning the Float than is the most colorful and representative of the carnival.