A tall thin curved hide shield with each of the four corners curving outward. The handle is a long stick down the middle which is looped at the centre. Hide binds parts of the handle to the shield. There is a ball of dark feathers (part b) that is said to go with the shield.

Painted dance mask with twig headdress and cedar bark fringe. Mask has a very bulbous black forehead with white painted ridge above and below curving eyebrow band. Eyes are close to nose with round hole outlined in white and enclosed by a black eye-shape. A blue contoured teardrop shape expands out on both sides surrounded by a white band. Large hooked nose with white tip and curving band dividing the black top from the red bottom and extending to corners of mouth. Very large triangular nostrils on underside of nose. Tip of nose meets large rounded chin. Deep-set mouth is slightly opening showing 2 rows of even white teeth. Red curving, contoured split u-shapes on cheeks. There is a lip around outside of mask, painted with large blue circles. The areas between are natural cedar. Three partially red painted fir boughs (without needles) are mounted into metal springs in the top of the mask, 2 with masking tape and one with leather. White ostrich feathers are attached by white thread at 5 places and around cedar bark tuff at top front. Tuff is braided to sides. Cedar bark fringe on top back is loosely tied together with white string dyed brown. The string end has passed through hole on side where leather thong is tied. Thong also ties on opposite side and at top, centre. Thong is looped at centre back. Bottom cedar bark fringe is attached to bottom of mask with string which is loosely tied across fringe in 2 rows. Cedar bark strands alternate between natural and red dyed. Inside of mask is partially covered with red sprayed paint.

Light yellow brown mottled ostrich egg (part a) with one cm. hole drilled at one end. Incised lines in three places around the hole form three ladder-like designs. The stopper (part b) is a bundle of grass roots wrapped at one end with fibre.

Eighty-six grey-brown cocoons have been slit to allow the insertion of bits of stone or ostrich eggshell. The cocoons are drilled on the underside with two small holes at each end, and strung on strands of twine so that they lie parallel to each other. After stringing, the twine is tied at the end. Lengths of rawhide are tied at each end of the band of cocoons, and are used to secure the rattle to the dancer's leg.

Eighty-six grey brown cocoons have been slit to allow the insertion of bits of stone or ostrich eggshell. The cocoons are drilled on the underside with two small holes at each end, and strung on strands of twine so that they lie parallel to each other. After stringing, the twine is tied at the end. Lengths of rawhide are tied at each end of the band of cocoons, and are used to secure the rattle to the dancer's leg.

Entire tortoise shell (part a) is used. Bottom shell is glued to the top shell making a container with a narrow opening where the head would have been. A white ostrich egg bead belt, thirteen beads wide, covers the top. Six strands of beads protrude over the opening. Belt (part b) is sewn to a piece of hide and is attached to the underside of the shell by being drawn through two drilled holes.

Ostrich eggshell beads strung on sinew. A short sinew thread has one red glass trade bead and one eggshell bead attached to the necklace.

Curving, rectangular piece of leather bordered on three sides with a band of ostrich eggshell beads that is ten rows wide. Band is sewn to hide and traces of stitching also occur at the centre front top. Hide ties are sewn at the beaded ends.

Irregular, somewhat conical shape; sponge-like surface has several indentations and numerous scrape marks. It has a large hole part way into the centre, with lacy bone material lining and partially covering it. Recessed sections are cream-coloured in contrast to the greyish-brown bone.

Roughly drilled ostrich eggshell beads strung on tightly wrapped sinew.