Bundle of plain white inner bark strips; tied together with twine. Paper tag with blue and red characters printed on it is attached.

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.

Large three-headed bark cloth dance mask. Central head extends from dome-shaped headpiece. Identical smaller heads jut out from either side of its neck. They all have large semi-circular foreheads, wide round eyes, long straight faces, and thin protruding lips. Mouths are open and have large curved circles attached underneath. Entire mask surface is painted white with stylized triangular and circular motifs done overtop in black and red. Black rectangular panels painted across backs of heads and across headpiece. Panels are filled with triangular, linear and floral motifs. Mask frame made out of bamboo rods, bent and tied together.

Mushroom-shaped, bark cloth pubic cover. Consists of a bamboo cylinder, wrapped in bark cloth and secured with plant fibre, and circular head. Cylinder extends from back of cover. Structure of head formed with an inner strip of bamboo. Front is painted white. Cylinder is visible from front, in centre, and painted red, with a matching dotted line bordering it.

Very large tapa cloth (shroud type) with a light orange background, painted with a grid of squares that fully cover the piece. Each grid is filled with a linear pattern of concentric boxes or horizontal wavy lines in dark brown. On top of this are painted thick stripes running from top to bottom in brown-grey with leaf shapes protruding from the middle lines, and triangles from the side lines. The long edges of the tapa have been left uncoloured, and have been painted with cross hatching and numbers in brown. One end of the piece has been cut, while the other is finished. The underside of the tapa is also painted orange, but undecorated except for the patterning that shows through from the front.

Very large tapa cloth with pattern showing square divisions. The outside columns are left an un-pigmented light brown, with numbers inscribed in dark black and brown. The inner columns feature geometric designs and images.

Nine mounted and labelled samples on an off-white card (part b) in a labelled folder of the same material (part a). Six rectangular samples of three kinds of bark used in Japanese handmade paper; three samples include both brown outer and inner bark; three are inner bark only, lightest in centre. Remaining three samples are a small square of yellow-white parchment; a larger square of light brown pounded mulberry; and a rectangular sample of light brown pattra inscribed with black cursive writing.