The collection consists of posters advertising and promoting pow-wows, rodeos, sports (boxing, basketball, wrestling and hockey), various "Indian Days" and "Native Awareness" events, art and museum exhibits, dance competitions (especially Prairie Chicken), conferences and seminars, Indian Association of Alberta meetings, and Treaty 7-related commemorations.

The collection consists of photographs of First Nations people from the USA and Canada, including Navajo, Hopi, Crow, Pueblo, Inuit, Blood, Stoney, Haida, Paiute, Carrier and Kwakiutl (Kwakwaka'wakw).

This collection consists of photographs of the people that lived in Jasper area when the park was formed. They relocated to Grande Cache. This collection consists mostly of photographs taken during their visit to Jasper (1972) including views at the Palisades Centre (formerly the Lewis Swift homestead), the Ewan Moberly Homestead, Suzanne Cardinals Grave and the Jasper Airfield. Members of this group included; Mrs. Adam Joachim (nee Caroline McDonald), Freida Joachim, Albert Norris, Joe McDonald and others. The collection also consists of photographs of: Adam Joachim on a Hunting Trip (1935); a log cabin, location unknown; Mr. and Mrs. John Moberly and sons, Dave and Frank in an automobile [1912]; John & Mary Gregg and Mr. & Mrs. John Moberly [1910]; Ewan Moberly Family in Grande Cache [1912]; and Frank Seabolt, Jack Gregg and Dolfuss Norris [1927].

This collection consists of postcards and photographs collected by Joan Goodall. Areas depicted include Old Massett, Hazelton, Kitwangar, Port Simpson and other areas. Most images have totem poles or other massive carvings depicted.

The fonds consists of four 16mm films of varying subjects. Two are NFB productions, one is an Eastman Classroom films, and one was produced by the Government of Alberta.

The collection consists of materials collected by Joseph P. Brumlik of Edmonton from 1966-1976. Consists of the caveat, submissions, reference material, exhibit books, reasons for judgment, factums, case on appeal volumes, and the final ruling of the Chief Justice of the Supreme Court of Canada relating to a landmark native land rights case involving the use of oral tradition in native cultures and tried by Justice William G. Morrow.

The fonds consists of 21 audio cassettes (recorded on a Sony TcM 5000 EV) containing interviews with twenty longtime residents and travelers in the Kakwa and Two Lakes area: Phil Comeau, Bob Neufeld, Norm Drysdale, Dorothy Comeau, Fred Comeau, Norman Eng, Dave Robertson, June Neufeld, Luther Kozowan, Rick Erlendson, Ben Foster, Pete McCullough, Mable Tennant, Suzy Moberly, Lois Lofstrom, Michael Ryan, Don Nelson, Dave Schenk, Norm Trepanier, and Doug Tennant. The interviewer is Jim Nelson.

The collection consists of government reports, newsclippings, and Karen's notes and news stories, mostly concerning political matters affecting native groups in southern Alberta.

The collection consists of images, originally taken circa 1890 to the 1960s, from the Lac La Biche area, including images of the Filles de Jésus, priests, church exteriors and interiors, Lac La Biche Mission, mission students, houses, stores, buildings destroyed by a tornado, deer, barn building, potato picking, planting, skiing, chopping and hauling wood, a hockey team, children, Métis, families including members of the Ladouceur, Cardinal, Chevigny, families, and Italian settlers (Canterra, Biollo, Bonifacio) and a grain elevator in the Venice district. The collection also includes prints of some <em>Le Franco</em> images of the 1988 'Cultural Rendezvous Culturel,' a copy of Joseph Ladouceur's Bill of Landing Hudson's Bay Company (1877), copies of Cree grammar books and copies of certificates of Victor Parenteau.

The fonds consists of photographs and textual records regarding the history of Tsimshian bands on the North Coast. The photographs and text panels were used for a display. There are also photographs from an album of a parade in Prince Rupert in 1961, children outside of homes, totem poles, and a building in Kitwanga. The photographs came from an album that was in the possession of Harold Ryan and were accessed after he passed away.