Carved wood totem pole Coqualeetza IRS had a training program that involved some traditional cultral work, where girls wove baskets, spun and knit, and boys learned carving with the hopes that this would help develop work skills, teach technical training, continue some traditional knowledge, and help students sell their goods. This was funded first by the DIA and then by the United Church after 1934. Rev. Raley's resulting collection from this program was used for display at the school as well as for teaching, and later became part of the of UBC's collection at MOA. This painted carving is wood, painted black, yellow, green, and white. Paint type is unknown, may contain arsenic, lead. Handle with care, wear gloves. Base is black with yellow lettering that reads "CHWK 1935", which we interpret as being carved at Chilliwack's Coqualeetza IRS in 1935.

Full-sized paddle, painted black with designs across front; back of blade is undecorated. Paddle has a flattened ovular blade, thick cylindrical shaft, with a grip that flares at the top. Central line of white dots extends from grip to throat of paddle; mirrored on either side by lines of dark blue, green, yellow, and red dots. Dot lines end at dark blue infinity symbol, which covers front of blade. Sides of infinity symbol have prairie roses and trilliums. Behind the infinity symbol is a scene of three buffalo, done in black. Buffalos are painted on a ground of blue, white, and brown; ground colours fade into one another. Artist inscription written on back, bottom edge of blade: STRENGTH IN THE DARKNESS- AA 2021. COLLABORATION: PAT CALIHOU, CARVER; Adele Arseneau, PAINTER.

Carved wooden sculpture of whale, painted on a rounded, rectangular painted base with a tall dorsal fin. The fin has two carved and painted humanoid figures on the sides of the fin, with their hands carved, as if holding onto the edges. Mainly painted black, with red and pale blue design elements.

Bark cloth body mask; conical shape top with long raffia fringe hanging from circumference of wide end. Tubular extensions out each side from midway of conical top. Each tubular "arm" has rigid circular shaped opening with a small bunch of short raffia fringe attached at lower edge. Geometric painted design around conical "body", with a linear depiction of a face on the front side of the rounded top portion; designs done golden brown with black highlights. Additional raffia fringe and fibre loops attached to top centre of "head".

Brown-grey wooden boomerang with painted designs across surface; back is flat, front is curved. Left arm of boomerang is slightly wider than the longer right; left arm tapers to a point, right has a round end. Elbow has a high curve. Alternating band and chevron pattern along length of boomerang; done in black and trimmed with white dots. End of left arm also done in black, with a white dot border. Back is undecorated.

Wooden boomerang(?) with painted designs across surface; back is flat, front is curved. One arm is shorter than the other. The shorter arm is wider and rounds out to a small point, longer arm tapers to a rounded end. Elbow has a soft curve. Front has a central snake-like design; done in pink, with a white dotted black border. Both arm ends are pink with identical borders to snake. Additional design of splatters of black and white on either side of the snake, and a semi-circle with dots underneath it. Back is stained dark-grey and red, the wood appears to have been burnt at one end.

Old wooden loom with two upright support posts (parts a-b) and one rolling bar (part c). The support posts are rectangular in shape with one tapered end. Each post has two rectangular cutout holes near each end. On one post (part a), there is a small rectangular piece of wood nailed across the lower cutout hole near the tapered end. The cylindrical bar (part c) has been painted.

Raven headdress, or mask, with long cedar bark fringe. Emerging from the top of the head is a short cedar bark fringe, as well as black feathers and two attached wooden wing panels. Two additional upright wooden wing panels are attached at the back, and one horizontal panel. The panels are carved in relief and painted black, brown and dark red on a black background. The beak is black, and mouth is red. The lower part of the beak is hinged with strips of hide(?), nailed in place, and a thin grey plaited rope is attached to the inside of the lower beak, and hangs down with the long fringe. The eyes are black, outlined in red and black on a white ovoid background; the brow is black. The inside of the headdress is hollow and lined with yellow foam on the upper portion. Two thick plaited ropes are nailed to the top, at the back, to hold the mask on the wearer. Attached along the top ridge is a twisted and dyed cedar rope.

Carved wooden mask depicting red humanoid face. Short black ridge wraps around top edge of head; diagonal lines incised throughout, imitating hair. Rectangles protrude from either side of face, imitating ears; triangles carved in relief across surface, done in white and blue. Face has a long thin nose over protruding lips; eyes are partially closed and rest underneath semi-circular eyebrows. Large bird perched on top of white and blue column, protruding from top edge of mask. Bird is white with blue and yellow highlights; has an orange beak and large black crest. Sides of mask are undecorated and have holes drilled into them; mask is hollowed.

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.