Begena stringed instrument. Square-shaped resonator, covered with stretched rawhide, which is nailed in place. Triangular wood frame extends from top of sound chamber, made up of two arms inserted through the skin and connected at the top by a crossbar. The crossbar is rectangular on either end, with notches that the arms are inserted into, and a cylindrical centre where the strings are attached. The strings are fastened across the front of the sound box to wood pegs. U-shaped leather pieces placed between each string and the bridge.

Cape in a shiny bright blue fabric with small silver ovoid pattern all over. Semi-circular with triangle where the cape is sewn at chest. Five ties or flaps that hang down from the bottom edge, and two more ties where it closes at chest. Interior lined with a light green.

Masenqo or single-stringed bowed lute (part a) with bow (part b). The lute has a diamond-shaped resonator is made of four small wooden boards glued together, then covered with stretched rawhide, which is stitched together. The single string is made of horse hair, and passes through a wooden bridge. The hair is knotted to a large tuning peg. The bow (part b) is composed of a U-shaped piece of wood that has plaited plant fibre strung between holes at the ends of the wood, and then tied.

White pants that bulge above the knee; with knee patches. Four button closure on front. Seven belt loops. Hemmed pant legs.

Horn container with carved wooden lid. The small horn appear to have a boar bristle fringe at the end. The carved wooden stopper is larger than the horn container. The stopper has a humanoid face on the front with an owl-like head above it; five human figures are carved in a row up the back, each with their hands on the shoulders of the one in front. The stopper is tied onto the horn with a thin fibre cord. There are holes drilled through the lid and horn for securing the closure, but the pin is missing.

Framed caribou hair tufting of a floral design, on black velvet. Design is inside an oval cutout in the centre of a white cardboard mat. Motif consists of two orange and yellow Newfoundland pitcher plants with fallen petals; curved stems are dark green. Frame has raised edges and the inner edges, around the cardboard mat, are painted gold. Certificate, with maker and design information, is glued to back of wood frame.

Pair of snowshoes (parts a-b) made of wooden frames with two curved crossbars. Babiche latticework between the frame and crossbars; latticework reinforced with plastic ties along frame. Shoes are rounded before tapering at the ends; shoes are flat. The frame consists of one piece of wood that has been bent into shape; ends are secured with nails below the front crossbar. Middle section of latticework is woven wider than front and back sections. Oval-shaped gaps in weave, underneath front crossbar, for feet; skin ties secured to sides of gaps. Decorative tufts of light blue, orange and dark purple wool are attached along the outer edges of frames, on front and back ends. Grooves cut into frame above wool decoration. The longer snowshoe (part b) has a knotted cord tied around the frame above the front crossbar, along the left side.

Dari (or dhari) feather headdress. Headpiece is shaped like an inverted-U, with a horizontal line through the middle. Three lines extend from the top of the centre line, connecting with the top edge; outer lines are curved, middle line is straight. All pieces are made of cane, wrapped in orange fibre. Headpiece has an outer border of plastic; connected to headpiece with black cane, shaped into a zigzag. White feathers protrude from outer edges of plastic, secured with black fibre; feathers in bottom corners are longer than rest and undecorated. Rest of white feathers have had their ends cut; each has three small triangles on either side and long diagonal lines at the tip. Large red seed is tied to the top centre of the headpiece and has three feathers extending from it. Long grey feather in the middle, framed by smaller white and black ones, is topped with a tuft of white feathers; secured to grey feather with white fibre.

Baining bark cloth face mask. The hat has a sturdy formed brim, which expands into a conical crown, painted with repeating patterns of triangles on a continuous line that alternate in black and orange-red. A pointed wooden tip is inserted into the point of the hat. The conical crown is formed with a circular piece of wood, which has straight sticks attached to it, that extend up and meet at the tip. The interior of the crown is lined with large leaves. The face mask is attached to the hat where the brim meets the crown, and has a sturdy formed jaw line. The mask is painted with a skeletal face design showing sunken cheeks and forehead, open mouth with pointed teeth and large outlined black oval-shaped eyes. There is a hole through the centre of the forehead.

Painted drum (part a) made of stiffened skin stretched over round wood frame. Skin wraps around frame edges to the back; thin strips of sinew looped through holes in skin draw material tight. Sinew strips lashed together in centre with leather thongs; black looped cord attached to leather, for hanging purposes. Face of drum has bird, fin and sun motifs painted across surface, made up of formline design elements; done in dark blue, gold, and dark red. Artist signature and date made painted along side of drum; done in red. Drum rests inside separate square wood frame (part b) with tall walls (Metal hooks and wire in interior and on back of frame, for hanging purposes).