This essay analyzes rurality as represented by various sectors of fundamentally urban cultural production during the euphoric decade of 1950. While the rhetoric of the Commonwealth proclaims the island's development and modernization, government and intel-lectual sectors, in a neo-Creole attempt, naturalize a national culture based on rural-agricultural subjects and spaces. The essay moves from Maria Teresa Babin's pastoral writings to the anti-pastoral writings of Jose Luis Gonzalez. It questions the idealistic approach of DIVECO's educational films and suggests the presentation of rural migration in the music of Cortijo y su combo. [Keywords: jibaro, Commonwealth of Puerto Rico, DIVECO, Maria Teresa Babin, Jose Luis Gonzalez, Cortijo y su combo]