Liberia has a cultural heritage which includes a wide variety of different types. After a period of time the strength of the nation´s own cultural traditions weakened by Western influence, the nation´s arts and culture are thriving as Liberians came to value with their own original cultural expressions while at the same time thriving on the best of Western culture to produce a healthy and exciting mixed historical culture. Liberia´s National Cultural group, for instance, offers plays and dances based on traditional Liberian themes both at home and elsewhere, under the motivation of President Tolbert, creator of the annual National Art and Culture Festival. On Liberian television and radio, African drama and music have their own honored place, while Liberian writers, inspired by the country's rapidly rising level of literacy, are increasingly finding their own place. Literature in Liberia began soon after the nation´s beginning, the first Liberian novel, “Love in Ebony”, was written by Charles Cooper in the late 19th century. The creative writers who followed Cooper include R. Tombekai Dempster, the first Liberian poet to be represented in an anthology, Peter Dorliae, whose collections of folktales gave traditional Liberian stories a modern setting or mood, and the novelist and poet Bai T. Moore. Liberia´s younger writers are working towards a new traditional style of African storytelling with a realistic summary of their society, a trend which promised much for the future of literature in Liberia. Though English is, of course, the official language of Liberia, it is by no means the only one or even its first written language. For the Vai and Bassa tribes, they had developed their own alphabets and written languages before the arrival of the first settlers from the United States, and were among the first black Africans to do so. Realizing the importance of these varied languages make to the depth and diversity of Liberian culture, especially as the history of an ancient oral literature, Liberians are taking many steps to keep the preservation and continuing life of the tribal languages. On the same note, the gradual process of integration and unification has given rise to an uprise in interest to tribal culture for its own sake and as a continuing reminder of the nation´s roots. It is in dance and music that original artistic expression reaches its greatest heights, each tribe having its own ritual dances and musical forms to celebrate major occasions. All are founded on the skill of the drummers, creating an intricate and ancient pattern of rhythm. In some areas, the great war drums can still be heard, the players standing on platforms to play their huge instruments can still be seen. The famous `talking drums´ , so called because the drummers can alter the pitch as they play by tightening or loosening the drumheads. This beat is often completed by the sound of reed rattles and bells, while some tribes add melodic line with horns or types of string instruments, some of which have gourds for sounding boxes. There is also an old tradition of vocal music, of which the Kru choirs with their complex harmony are an outstanding example.

Now a Days to encourage and preserve Liberian singing isn't the aim of the newly established Studio-One, Liberia´s first professional recording studio whose first albums, devoted to Liberian vocal music in native languages as well as in English, are now serving to bring this thriving side of Liberian culture to the attention of a wider public. Among the most active preservers of traditional ways in Liberia are the Poro and Sande institutions. Each has rights and ceremonies whose purpose is to educate young people in the civilisation of the tribe and help them with their participation in activities for the common good, to maintain the link between the people and their past, to preserve the group´s folklore, skills, and arts and crafts; and instal a disciplined and responsible attitude. The enrollment, which could involve as much as four years of training, are followed by extravagant ceremonies including feasting, dancing, music and singing. The boys, who during training have excelled in performing arts are taken on a tour of neighboring villages. Poro and Sande play an important role in integrating young people into the structure of society and act as stabilizing forces; President Tolbert recognized their value by himself undertaking the Poro initiation. The tradition of fine carving, so important among the Liberian plastic arts, has roots in the ritual masks required by the Poro and Sande rituals. In the Poro, the mask is seen as the remembrance of a spirit, its value residing in the object itself rather than in the person wearing it. Usually made of sapwood, the Liberian carver´s favorite material, these masks have numerous stylistic choices. One, used in initiation ceremonies, has an extended beak, while another type has tubular eyes beneath a horn. The wide variety of local hardwoods, which include ebony, cam wood, cherry, walnut and mahogany, is fully utilized in Liberian carving as are other native raw materials, from the soapstone carvings of the Kissi tribe to the clay models of the Grebo, from the reed dolls of the Loma to the complex figurines and jewelry cast in brass or bronze by artists using the lost wax method. Following the tradition of Liberian art, the country's modern artists have largely chosen to move away from representation towards those abstract, sometimes spiritual forms of interpretation which are characteristic of the ancient African cultural tradition. Among notable Liberian artists are Winston Richards and Cietta David, whose work tends towards pure abstraction, J. Nemle Thompson, whose random line of rich colors are inspired by the African primitive, and Frances Cooper and Caesar Harris, are more realistic style seeks to depict the spirit of modern Liberia. Many works of Liberian arts and culture can be seen in the National Museum in Monrovia, a treasure house of the nation´s cultural heritage. The National Culture Center near Monrovia presents these arts and cultures in their context, with its Cultural Village, made up of one hut representing the culture of each Liberian tribe, and its skilled carvers, weavers and other craftsmen who may be seen working in the traditional styles developed centuries ago by their ancestors.
In conclusion,

(http://www.liberianforum.com/arts2.htm)
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