the family greeted the crowds who witnessed the passage of the ride. Then, the historic shout echoed through the city: "Viva la Famila Castañeda" (Hurray to Castañeda Family!) That was invention of Torres Arellano, worthy of his talent, and passed into posterity as a new and original sign joy. The settler and his people paraded happy and excited, through the streets of the city. The unexpected passengers received the cheers of thousands of Pastusos along roads, squares and avenues of the capital of Nariño. At the end of the parade, members of the Castañeda Family asked to his new friends to accompany them to the Hotel Paris where they would stay. The hotel was located in the Calle Real (Royal Street), where now stands the "Zuchín" building at 25th Carrera between 17th and 18th Streets. Other versions said the Castañeda family characterized in the comparsas on 4 January is also a cartoon of Bucheli Ayerbe family, one of whose members Don Julian Bucheli Ayerbe, became the first governor of Nariño, at the break of the 20th century. Until the advent of Carnavalito (Children's Carnival), the parade of the Castañeda family would become the opening of the Carnival. The decades of the 1930s and 1940s watched a structured Carnival, and before the advent of the first heavy industries, acquires presence and prominence 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. Maturity In the 1950s, the figures of the main floats acquired movement, and thanks to the work of the master artisan Alfonso Zambrano began a new era of splendor. During this time, beginning the Mayor of Pasto (sometimes with participation of the Government of Nariño) to take control and 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 started the search and recruitment of national and international commercial orchestras, the most famous were Venezuelan Los Melódicos, Billo's Caracas Boys and Ecuadorian Medardo and his Players. In that years, Luis Quenguan was the first cameraman, who made a record in film (black and white) of 8 mm, Super 8 and 16 mm of the Carnivals. In 1966, thanks to Don Mario Fernando Rodriguez, arises in the Bolivar neighborhood, the Carnavalito, or Children's Carnival, this autonomous