Round beaded staff with feathers and beads hanging from hide cords along the length. The staff is completely covered in beadwork, long stripes of animal fur and hide, so that the material of the staff itself is hidden. The top end has an elongated, off-white bird head carved in plastic (made to look like bone), ending in the pointed beak. A long hide thong attached along the side holds a combination of long brown feathers, and plastic beads on shorter thongs.

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.

Ghost net dari (or dhari) headdress. Headpiece is shaped like an inverted-U, with a horizontal line through the middle. Five lines extend from the top of the centre line. Middle one is straight and connects with the top edge; other four form inverted-U shapes and reconnect with the centre line. Two additional curved lines protrude from the middle line, connecting with the main body of the headpiece. Curved and inverted-U shaped lines are all dark blue; straight lines and headpiece are done in olive green, dark blue and green. Headpiece has an outer green border and it is connected to the headpiece with black zigzags. White feather-like protrusions extend from outer edges of green border; protrusions in bottom corners are longer than rest and undecorated. Rest of protrusions have had their ends cut; long diagonal lines extend from tips. All protrusions are secured with wire, wrapped in green. Orange circle is tied to top centre of headpiece with three feather-like shapes extending from it. Long black "feather" in the middle, framed by smaller white and black ones, is topped with tufts of white plastic.

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.

Northwest Coast style imagery painted on a doubled piece of large, rectangular burlap. The image background and facial details are in red, with a vertical dark blue border along the edge of each side. There are four main faces, with round copper buttons for eyes. The bottom section has one of the larger faces, with a dark blue canoe in profile above the centre; then two smaller faces side-by-side in the middle, with two rectangles above, each with two small faces detailed inside; then another larger face at the top, with three dark blue copper shapes above it. The unpainted areas of the faces are natural light brown jute. There are two small white plastic buttons sewn on near the lower left corner. The piece is made of two pieces of burlap folded over at the top and sewn together, using the same jute fibre, along the sides, with the bottom left open. The back is unpainted, with a large Royal Coffee stamped logo in the lower half.

Quiver (part a) with ten arrow shafts inside (parts b-k), and four extra arrow shafts (parts l-o); all components are stained(?). Quiver is a stalk of bamboo with the top cut off; base is concave. Arrows are different lengths and have an assortment of points: pointed, flat, and slightly tapered. All of their tops have been split and have had plant fibre, folded into a triangle, inserted through it; to act as fletching. Space above has been wrapped in black and grey fibre, to hold shafts together.

Large chest (part a) with hinged lid, rectangular handles on either side, secured with ornate clasps, and on wooden wheels. Interior has thin compartments on either side, with hinged lids; removable tray fits in between compartments (part b). Chest has metal inlayed decorations across front; back and sides are undecorated. Designs consist of two rectangles framing a central circle with an "A" inside it. Rectangles are filled with curvilinear, geometric and dot motifs. Additional curvilinear designs around keyhole and clasps. Rectangular metal panels are attached to edges on front of chest. Large cutouts along bottom edges on all sides, in centre; left and right side cutouts are semi-circular, front is scalloped, and back is trapezoid-like. Interior of chest lid has a raised design of four columns with five alcoves in between. Outer alcoves have circles filled with flower petals, inner alcoves are empty, and central alcove has a square mirror; columns are filled with flower-shaped pieces of cloth and sequins. Removable tray inside chest is divided into six sections; two vertical ones on either side, two horizontal ones in middle with two small square ones in between larger horizontal sections. Top centre section has a hinged lid. Linear, floral, curvilinear, and geometric motifs carved throughout interior.

Water dipper with a flat-bottomed aluminum bowl and plain wooden handle; handle is secured to back of bowl with nails and a piece of plastic(?). Exterior of bowl decorated with raised designs; top and bottom edges have braided lines, main body is decorated with repeating floral motif. Space between braids and flowers is filled with small impressed triangles; curvilinear and triangle motifs throughout. Manufacturer's mark engraved on base of bowl.

Jellyfish figure made from reclaimed plastic fishing nets. White woven hood with large oval arm hanging from bottom centre, surrounded by thin tentacles. Top edge of hood decorated with orange circles, bottom edge with dark pink circles. Tentacles braided with strands of orange and dark purple plastic. Arm made up of looped strands, braids and balls of fibre, with additional disc-shaped decorations towards the bottom. Orange and dark purple plastic woven throughout arm. Hood shape formed with an internal metal frame.

Crown completely covered in yellow beads, with long strands hanging from bottom edge (part a). Crown is conical in shape with a circular pedestal on top. Bird figure sits on top centre of it and is detachable (part b). Body of crown covered in two rows of protruding bird figures. All have large white eyes, tips of tails painted white. On front and back, along bottom edge, are faces with oval-shaped eyes, long noses, and open oval-shaped mouths. All facial features extend outward. Crown has a padded interior, covered with white painted paper mache.