The emergent prominence of folk and popular culture as subjects of intense debate among scholars is, to say the least, a ratification of the tremendous power of knowledge and value of African indigenous civilization. The launch-pad of this research is the crucial potentialities perceptible both in folk music as well as sculptures of African origin. That folk art as a whole constitutes a reservoir of the quintessence of societal motif, value and a moral code, is too evident. Additionally, this art also projects the creative forte that underpin indigenous knowledge generation systems. This is to say African indigenous civilization reserves inbuilt mechanisms for knowledge generation and transfer without recourse to western approaches. With apologies to no one, folk arts generally command respectability and acknowledgement hitherto denied by conservative scholars. In Africa, folk music like sculptures, underscore expressive forms of knowledge on a wide variety of issues of both individual and collective concern. In Cameroon, the folk musician uses his art variously to describe, comment or simply recount issues and events important either to himself or to the community. In essence, his role goes beyond entertainment and is almost invariably steeped within untainted indigenous perception. Considering the need to evoke the hidden power of folk art, this research will sought answers to such questions as: What are the specificities of folk music and sculptures? How does folk culture represent collective memory and experience? What aspects of historiography and resource material is discernible in folk arts? These questions constitute the framework of an endeavor meant to complement existing research by flushing out the empowering content of African folk music and the educative aura of her sculptures. Through field work and interviews with curators, palace attendants, folk artists and fons/notables from selected Grassfield palaces, this research constitute a lobby force for a policy formulation in respect of the need to preserve and protect ancient folk arts and artifacts, these being enviable sign posts of indigenous African civilization. The analysis is predicated against the theoretical paradigm of Social Semiotics by Theo van Leeuwen on the one hand and Robert Hodge and Gunther kress on the other.