Stories Behind the Floats: Interview with José Alirio Obando, Cultor of the Carnival of Blacks and Whites

In Pasto, Colombia, every January, the streets come alive with the color and magic of the Carnival of Blacks and Whites, a festival declared Intangible Cultural Heritage of Humanity by UNESCO. Behind this celebration are the "cultors" or masters, who dedicate months to creating floats that captivate thousands of people. Today, we speak with José Alirio Obando, a 59-year-old plastic artist who has spent 40 years contributing to this tradition, crafting some of the most remarkable floats in Colombia.

In his workshop, surrounded by paper-mâché figures and metal structures, Master Obando shares his experiences, challenges, and love for the carnival.

A Legacy of Creativity and Passion

Al Dia: Master José, how did you get started in the Carnival of Blacks and Whites?
José Alirio Obando: I started 40 years ago. My first float was a challenging experience because I tried a new technique, and just hours before the parade, it seemed like everything was falling apart. The community came together to help me, and although I placed 11th out of 26, I learned a lot. That moment marked my life and strengthened my commitment to this art.

"Surrealismo Mágico," a Work with Cultural Soul

Al Dia: This year, you’re presenting the float "Surrealismo Mágico". Why did you choose that name?
José Alirio Obando: The carnival has a surreal essence; it blends the dreamlike and the fantastic. This year, I wanted to pay homage to that universal artistic movement and combine elements of our cultural roots, creating a piece that connects pre-Columbian, European, and Amazonian influences with a touch of magical realism.

Al Dia: What characters stand out in this float?

                                                                               
José Alirio Obando: The composition includes pre-Columbian figures like the Diablo Ayahuma, a harlequin woman representing European influence, an African woman, and two macaws symbolizing the Amazon. Every detail is designed to tell a visual story that unites cultures.

The Hard Work Behind the Floats

Al Dia: How many people are involved in creating your float?
José Alirio Obando: A team of 30 people works with me, including modelers, painters, and paper artisans. We spend three months working tirelessly, which means we have a very different Christmas. For us, the workshop becomes our second home.

Al Dia: What are the dimensions and technical features of the float?
José Alirio Obando: The dimensions are regulated: a maximum of 4.30 meters wide, 6.30 meters high, and 16 meters long. My float includes mechanical, hydraulic, and manual movements, some controlled with mechatronic technology. Everything must be perfectly synchronized for the parade.

Economic Challenges and Emotional Rewards

Al Dia: The carnival receives partial funding. How do you manage the investment?
José Alirio Obando: Official funding covers 70%, but the remaining 30% comes from us, with support from family, sponsors, and the team members themselves. Costs rise every year, so it’s a constant challenge.

Al Dia: Is it worth participating despite the difficulties?
José Alirio Obando: Yes, although I sometimes question it, the love for the carnival drives us. This isn’t just work; it’s happiness, pleasure, and a way of life. Seeing people’s reactions makes all the effort worthwhile.

Materials and Legacy

Al Dia: What materials do you use in your floats?

                             
José Alirio Obando: We use metal structures for the large figures, polystyrene, glued paper, acrylic and vinyl paints, and everything is assembled with organic glue, a traditional material.

Al Dia: What future do you see for your legacy?
José Alirio Obando: Unfortunately, no one in my family wants to continue this work. Each year, I tell myself it will be my last, but I keep going because this is more than art: it’s a bridge between the past and the present. I only hope future generations keep this tradition alive.

A Final Message

"The carnival is life, effort, and community. To young people, I say: value your roots and continue building this legacy. Each float is a dream that connects us as a society and keeps our identity alive."

Final Reflection

José Alirio Obando’s story is an example of passion and dedication. His floats not only beautify the streets of Pasto but also narrate the story of a vibrant culture. This master reminds us that art, even the ephemeral kind, has the power to transcend generations.