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The fonds documents Aiyyana Maracle life and work as performance artist and writer, creator of and participant in arts festivals, her committee and conference work, scholarship, teaching, Six Nations land rights activism, transgender visibility and health projects, and personal activities. Records consist of textual records, graphic material, analog and digital sound and video recordings, and objects. Objects are comprised of garments, masks, accessories, animal bones and skins, and miscellaneous objects used in performance art and art installations. The fonds is arranged into ten series: performance art, visual art, writing, scholarship, conferences and committees, Six Nations activism, two-spirit and transgender material, notebooks and loose notes, personal records, and bibliographic records.

Fonds documents Naylor's life and work as organ scholar and composer. The fonds consists of correspondence to associates, friends and family, 1935-1984; miscellaneous programs, scrapbooks, ephemera, newspaper clippings, and photographs; manuscript choral, instrumental and vocal scores of Naylor's work, and others, 1924-1983; sound recordings of folk songs, chamber music, instrumentals and interviews, and recordings of other composers' work.

Fonds consists of 6 series: correspondence, 1961-1987, primarily Earle Birney; literary manuscripts, ca. 1954-1957, including fiction and plays; research, ca. 1962-1987; printed materials, ca. 1954-1988, primarily journal offprints and copies; indices, ca. 1962-1987. The indices consist of research card groups including: animals; slang dictionaries; women in medieval medicine; medieval medical books; symbolism; The Canterbury Tales, and miscellaneous subjects.

Fonds consists of correspondence and minutes of the committee.

Sous-fonds consists of records kept by Carole Itter documenting the life and death of her daughter, Lara Gilbert, Gilbert’s medical history, the publication of Gilbert's journals, legal trials submitted by Itter and Gilbert, and research on related topics chiefly from newspaper reporting and academic texts and journals. The sous-fonds has been arranged into five series: 1) cassette tapes, 2) I Might Be Nothing records, 3) legal proceedings, 4) medical records, and 5) clippings and research.

The fonds consists of documents relating to Celu Amberstone's writing career. Records consist of poetry, playscripts, children's prose, notes for readings, publishing contracts, review clippings, correspondence, and acceptance and rejection letters from publishers and editors. The fonds also includes a proof copy of The Dreamer's Legacy by Celu Amberstone, and House of Commons Special Committee on the Disabled and Handicapped publication, "Native Population: Follow-up Report" (1981), which features a profile of Amberstone/Barbara Smith. The fonds is also comprised of digital text files of Amberstone's writings and e-book versions of her publications.

Fonds consists of the following series: Personal records, 1925-92; Correspondence, 1928-97; Programs and reviews of performances, 1949-87; Photographs, ca.1895-97; Certificates and medals, 1924-95; Instrumental music scores, 1930-92; Secular choral music scores, 1929-93; and Sacred choral music scores, 1932-38.

Fonds consists of records documenting the administrative and operational activities of the society including general business files, correspondence, financial records, personnel files, publicity, outreach and reviews, scripts, graphic records, audio and video tapes, scrapbooks and posters, and logbooks and notebooks.

Fonds includes the following series: Departmental meeting minutes, 1964-69, 1972-82; Planning for Theatre building, 1975-81; Theatre production, 1963-83; Theatre production for Phoenix Summer Theatre, 1972-81, 1986-87; Theatre production for Senior Secondary Summer Theatre Workshop, 1966-82; Theatre production scripts, 1964-89; Theatre production photographs, 1965-83; Theatre production slides, 1963-86.

Fonds consists primarily of correspondence between E. J. Hughes and Max Stern. The first accession consists of original letters from Hughes to Stern, as well as a folder of location photographs taken by Hughes and photocopies of his descriptions of his paintings. The second accession consists of photocopies of letters from Stern and his assistants to Hughes, or to others regarding Hughes’s work. The final accession consists of a single folder of photocopies of correspondence between Hughes and Dominion representatives.