The focus in this chapter shifts from the ghetto, politics, and violence in downtown Kingston (Ch. 5 and 6) to concentrate on the development of the plastic and performing arts during the last four decades of Jamaica’s decolonization and the first four decades after independence. Inevitably, it also concentrates on the experience and achievements of two generations of Jamaicans, who, with the help of a handful of Britishers during the 1920s and 1930s, laid the foundations for the flourishing of creole culture (the culture of the brown and black population) as national culture after 1962. However many of the themes that have previously been investigated— colonialism, race, pluralism, class, the ghetto, and politics resurface in this chapter and are bound into the argument. The chapter opens with a brief account of the late-colonial need to forge a national identity in Jamaica instead of relying on the imitative provincialism of white colonial culture. It then looks at the cultural complexity of Kingston, drawing brief attention to distinctions in family, religion, education, and especially language between the three principal social strata, in the lower two of which the modern arts movement has been embedded. The focus is subsequently placed on the plastic arts—sculpture, wood carving, pottery, and painting; poetry, and the novel; pantomime, dance, and plays. The final section concentrates on popular music and the creative role of the Rastafari movement in the development and diffusion of reggae, one of the quintessential expressions of Jamaican national culture. Here low-status black culture has been not only a national unifying focus for all (or almost all) sections of society, but also a vehicle for projecting a Jamaican black identity on to the international stage. However, reggae has been partially eclipsed by dance-hall (and slackness), and this has introduced renewed tensions between uptown and downtown. A major feature of Jamaican national culture (as it emerged around independence) is that it is creole, or local to Jamaica. However, it is also a plural culture, in that virtually all branches of the arts are divided into tutored and untutored versions: Cooper (1993) uses the terms ‘book’ and ‘long head’, reflecting the involvement of the middle and lower strata, respectively.