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Fonds consists of ten framed prints from the personal fly-fishing print collection of Douglas R. Greer, 1996-1998.

Fonds consists of records pertaining to the Waffle movement and includes clippings, campaign material, policy papers and research materials, minutes of the provincial executive and provincial council, some correspondence, Waffle newsletters and bulletins, educational material and bibliographies.

Le fonds d’archives du Théâtre du Nouvel-Ontario (TNO) témoigne des différentes activités et réalisations de la compagnie de théâtre depuis ses tout débuts, tout en nous renseignant sur les transformations et l’évolution de cette compagnie théâtrale. De plus, les documents reflètent l’essence même propre au TNO, ainsi que sa culture organisationnelle.

À ce titre, on y retrouve des dossiers témoignant du mouvement ayant mené à la création de la troupe de théâtre. Ainsi, il y a des dossiers sur les pièces de théâtre crées et jouées à l’université Laurentienne, les journaux étudiants, tout comme des dossiers sur les diverses personnes ayant un rôle direct ou indirect dans la naissance du TNO. Le fonds d’archives témoigne aussi des gens qui ont oeuvré au sein de la compagnie de théâtre, et de l’implication du TNO auprès de la communauté franco-ontarienne, de son rayonnement et de son impact plus spécifiquement à Sudbury.

En effet, le fonds d’archives contient les dossiers des différentes sphères d’activités inhérentes à une compagnie de théâtre. Ainsi, les procès-verbaux des différents comités administratifs, la correspondance, les demandes de subventions, l’embauche du personnel, et les démarches pour assurer la promotion des programmes saisonniers tout comme les différents rapports d’activités documentent la gestion des ressources financières, mais aussi l’évolution de la compagnie de théâtre. On y retrouve également les documents traitant des changements de sa structure, ainsi que des projets en collaborations avec d’autres organismes du milieu artistique et culturel. Le fonds d’archives comprends aussi les bilans financiers pour chacun des spectacles.

Les différents dossiers de production et création artistiques contiennent des renseignements sur la production et diffusion des différents spectacles du TNO, spectacles de poésie, pièces de théâtre, soit pour toutes les pièces jouées au TNO ainsi que celles produites par le TNO, et ce tant par la troupe professionnelle que communautaire. On retrouve d’ailleurs les dossiers de presse pour les pièces de théâtre présentées ou encore sur les auteurs des pièces. Le fonds d’archives contient également les ententes contractées pour les tournées, mais aussi sur la scénographie, et l’adaptation de certains textes et les éléments de la mise en scène. Il en est de même pour les aspects techniques tel que l’éclairage et les décors. Ainsi, parmi ces dossiers il y a les croquis pour la marionnette Médéric Boileau, dans la pièce La vie et les temps de Médéric Boileau, les esquisses de décor ou encore d’affiches publicitaires. Les différentes tournées tant en Europe qu’au Canada-français, et les tournées des pièces pour enfants, dans les écoles du nord de l’Ontario français sont également bien documentées. Les dossiers de promotion des pièces pour enfants, la correspondance avec les intervenants scolaires et les dessins d’appréciation des enfants permettent une vue d’ensemble de ce type de production théâtrale du TNO.

On y retrouve également des créations littéraires. Parmi celles-ci, il y a des textes d’André Paiement pour lesquels on y retrouve les versions, les notes et commentaires de différents intervenants ayant participé à la création collective de certains de ces textes de pièces de théâtre. Mentionnons aussi les écrits des artistes invités en ‘résidence’ pour lesquels il y a plusieurs des créations littéraires lors de leur séjour au TNO. Le fonds d’archives contient aussi des poèmes inédits de Jean-Marc Dalpé, mais aussi des notes, commentaires, synopsis de différents intervenants impliqués directement ou indirectement dans des productions du TNO. À ce titre, des notes d’appréciation ou encore d’explication de Pierre Gravel, Michel Ouellette, ou encore des commentaires ou présentations de Brigitte Haentjens en tant que directrice artistique ou metteur en scène, ou des notes, de la correspondance ou journal de voyage d’acteurs ou d’actrices en tournée ou des gens de l’équipe, sont aussi compris dans le fonds d’archives et témoignent non seulement d’une culture artistique mais aussi d’un vécu d’individus impliqués dans le milieu culturel franco-ontarien.

Le fond d’archives contient également de nombreux témoignages de l’interaction entre le TNO et d’autres organismes à caractère culturel tel que: Les Éditions Prise de Parole, ou encore la Galerie du Nouvel Ontario, mais aussi de compagnies de théâtre franco-ontariennes ou du Canada-français et même d’outre-mer. À ce titre, on retrouve aussi les documents d’incorporation de la Coopérative des artisans du Nouvel Ontario (CANO) ainsi que la correspondance, et la publication de celle-ci, Journal de Bord qui était publiée par Yvan Rancourt. Il en est de même pour l’association du TNO avec La Slague, plusieurs dossiers documentent cette période de la compagnie de théâtre. Des croquis, des documents d’architecture d’études de marché témoignent des différents projets de regroupement d’organismes culturels et documentent les démarches pour l’obtention de la salle actuelle du TNO.

On retrouve aussi des dossiers de documentation qui attestent de la participation active du TNO dans la communauté francophone de Sudbury, lors de festivals ou d’évènements communautaires, mais aussi du soutien de la communauté envers le TNO.

Le fonds de la Galerie du Nouvel-Ontario (GNO) témoigne des principales activités artistiques, de la gestion et de l’évolution de l’organisme, dix ans après sa fondation jusqu’aux premiers balbutiements du projet d’autonomie de la galerie.

Le fonds regroupe des documents qui nous renseignent sur la programmation de la galerie, les artistes et leurs créations. On retrouve entre autre des programmes, des cartons d’invitations pour des expositions et des listes d’envoi. Sont aussi inclus des curriculum vitae d’artistes ainsi que leurs dossiers de soumissions d’expositions, des contrats d’expositions entre la galerie et les artistes, des listes d’oeuvres et des photographies.

On retrouve aussi plusieurs documents afférents à l’administration ainsi qu’à la gestion financière de la GNO. Notons les procès-verbaux, budgets, demandes de subventions au Conseil des Arts de l’Ontario, correspondances, formulaires de vente d’œuvres d’art, factures, bons de commande, et des communications telles que : communiqués de presse, mémos et notes de service. De plus, ce fonds contient de la documentation qui témoigne des responsabilités de la GNO au sein du Carrefour francophone et du Centre des Jeunes. Un document concernant le projet d’auto-gestion de la galerie fait aussi partie des dossiers.

Le fonds d’archives contient également certains documents qui nous informent sur la situation des artistes et des organismes culturels francophones aux niveaux local et provincial. À ce titre, on retrouve de la documentation générale sur l’art et le développement culturel franco-ontarien ainsi que des dossiers de collaboration entre la GNO et d’autres centres d’arts visuels. De plus, le fonds contient un plan d’affaires pour le projet de Centre artistique francophone à Sudbury.

Les documents de ce fonds d'archives témoignent des réalisations, des activités et intérêts de Jocelyne Villeneuve. Ses cahiers de presse, en plus de documenter sa carrière d'écrivaine, témoignent de la reconnaissance qu'elle a eue auprès du public, mais aussi des liens qu'elle avait créés avec le milieu littéraire. Ainsi, les nombreuses lettres et poèmes reçus ou encore dédiés à Jocelyne Villeneuve en sont une preuve. Il y a aussi plusieurs coupures de presse, communiqués de presse, lettres et autres informations sur la maison d'Éditions Prise de parole. Son implication dans le milieu nous est révélée par le cahier "compilation" dans lequel on retrouve des dessins et lettres d'étudiants d'une école primaire où elle donnait des ateliers sur l'écriture. Le fonds d’archives contient aussi les versions des différents écrits de Villeneuve, sa correspondance avec les maisons d’édition, avec des écrivains avec qui elle a développé des liens d’amitié. De nombreuses fiches de recherche et de la documentation sur des thèmes précis documentent la recherche faite par l’auteure pour l’écriture de ses récits et autres textes. Mentionnons aussi que certains dossiers abordent plus spécifiquement les problèmes de santé de Madame Villeneuve.

The Margaret (Peg) and Dennis Roberts fonds attests to their involvement in the Northern Ontario community, and more specifically, in the areas of education and culture.

The files relate chiefly to Peg Roberts’ career. They attest to her dedication to the promotion of theatre, and to the numerous roles she filled within the theatre. Peg Roberts’ files consist of notes and drafts for stage settings of the productions she directed while with the Sudbury Little Theatre Guild (SLTG). Text of plays, programs of the productions, photographs and some administrative and financial records of the SLTG and the Sudbury Theatre Centre (STC) are also included. Correspondences, newspaper clippings, and notes of appreciation also document the theatre festivals in which she participated as a director or as a member of the organizing committee. The files also include certificates of the many awards received by Peg Roberts in recognition of her dedicated service and accomplishments in the promotion of the arts throughout Northern Ontario.

Dennis Roberts’ files consist of his employment records, research papers, studies and documentation related to his professional life, more specifically dealing with his interventions with children. Some of the documentation, in the form of speeches document his role in training and assisting in education.

The fonds is divided into 2 series: Dennis Roberts, and Margaret (Peg) Roberts.

Le fonds d’archives témoigne des activités de création et des réalisations d’André Paiement dans le domaine des arts et de la culture. Les documents illustrent aussi l’impact que ses réalisations ont eu sur la communauté franco-ontarienne et la communauté francophone du Canada. De plus, ce fonds d'archives documente les groupes au sein duquel Paiement a œuvré. Ainsi on y retrouve des documents de La Troupe de l'université Laurentienne, du Théâtre du Nouvel Ontario ainsi que du groupe de musique CANO.

En effet, les dossiers documentent les créations littéraires d’André Paiement au sein de La Troupe de l’université Laurentienne et du Théâtre du Nouvel Ontario (TNO). De plus, les annotations des manuscrits des pièces de théâtre ainsi que les photographies documentent les différents rôles joués par Paiement, l’acteur. Les dossiers de presse témoignent du rayonnement d’André Paiement et des groupes avec lesquels il a œuvré (TNO et CANO-musique). On y retrouve entre autres, des photographies, programmes de pièces de théâtre, coupures de presse, mais aussi des notes manuscrites et textes du groupe CANO-musique. Les documents personnels tel que la correspondance, permettent une incursion dans la vie privée d'André Paiement. En effet la correspondance offre une autre perspective sur le cheminement d'André Paiement dans le monde de la création et favorise un aperçu d'André Paiement, l'homme privé.

Le fonds contient 4 séries : A- Personnel ; B- Gestion ; C- Création littéraire ;
D- Rayonnement.

Composé de l'enregistrement de deux entretiens avec Robert Dickson, d'une transcription de ces entretiens et d'un article à paraître, ce fonds d'archives témoigne de certains aspects des intérêts de recherche de Lucien Pelletier.

En effet, les entretiens avec Robert Dickson, poète, récipiendaire du Prix littéraire du Gouverneur général 2002 en poésie, et professeur de littérature à l’université Laurentienne, ont été réalisés [mai et juillet 2004] dans le but de recueillir l'information nécessaire pour un article sur cet auteur, en abordant la perspective de la culture, et de l'échange culturel. Ainsi, Lucien Pelletier avait un plan d'entrevue pour ces deux entretiens.

Cette entrevue, réalisée en deux rencontres, témoigne du cheminement et du positionnement de Robert Dickson, par rapport à la littérature et à l’expression de la culture canadienne française. Ainsi, le rapport Québec-Ontario français et les courants d’écriture ou d’expression littéraire, sont abordés tout au long de ces entretiens.

Dickson parle de son enfance, de son éducation et des éléments qui ont eu une incidence sur son choix de vivre en français, bien qu'il soit d'une famille anglaise. De ses études à Toronto, puis à l'université Laval, en passant par ses séjours en France, et son arrivée à Sudbury, Dickson se raconte et cerne son cheminement littéraire et professionnel, tout en identifiant les gens et personnages qui ont eu une influence sur son écriture. Tout en discutant de ses écrits dans cette perspective, il parle aussi d’auteurs franco-ontariens tel que : Jean-Marc Dalpé et Patrice Desbiens, et du poète québécois Gaston Miron. Lucien Pelletier s’entretient aussi avec Robert Dickson d’autres aspects de ses activités dans le monde littéraire, tel que l'édition ou encore la traduction.

L'article que l'on retrouve dans ce fonds d'archives est de Lucien Pelletier et sera publié dans un ouvrage collectif sur l'échange culturel. Cet article, pour lequel les entretiens avec Dickson ont été faits et enregistrés est intitulé : « La migration culturelle de Robert Dickson ».

Le fonds d’archives de la Fondation André Paiement documente les dons reçus et les efforts des gens directement impliqués pour l’incorporation et la gestion de la Fondation. On y retrouve de la correspondance, des procès-verbaux, une proposition de mission et des avis légaux pour l’incorporation de la Fondation. Le fonds contient aussi des documents concernant les dons reçus et une liste des donateurs.

Les dossiers du fonds d'archives témoignent de l’essence même de La Ruche des artistes, des activités et réalisations de ce groupe de francophones de Sudbury. En effet, les dossiers de gestion nous informent tant sur les aspects administratifs et financiers que sur les activités culturelles présentées. Ainsi ce fonds d’archives comprend entre autres : procès-verbaux, états financiers, documents de gestion, correspondance d’affaires, recettes des soirées organisées, demandes de subvention, listes des membres, listes des artistes, communiqués de presse, album photo, programmes des soirées et autre matériel de promotion. De plus, ce fonds d’archives nous renseigne sur le développement d’un réseau culturel francophone au sein duquel participait La Ruche des artistes avec, entre autres, La Slague, le Théâtre du Nouvel-Ontario, l’Association canadienne française de l’Ontario (ACFO), l’Association des étudiants francophones (AEF).

The records of the Florence Isabella Craig fonds attest to her career as journalist, editor, and author. Moreover, they document the period of WWII and of the contributions of women in the labour force.

Many of the research notes and typed articles are scripts or background information for Clare Wallace’s radio programs and cover various subjects such as weather phenomenon, birth control, history of well-known Canadian families, medical issues, fashion, mine sites, and even finger prints and ‘Black Magic.’

The scrapbooks contain clippings of articles written by Craig for the Toronto Star, the Sudbury Star, and Fore Sight, but also publicity images mostly depicting the role of women in the labour force during WWII.

The fonds also includes research notes, drafts, and different proofs of the book Craig wrote with Clare Wallace, as well as for other books she worked on. There are also notebooks with her poetry.

The Highway Book Shop (HBS) fonds attests to the activities of the enterprise in promoting and publishing works by Northern Ontario authors. Moreover, the fonds also demonstrates the shop’s commitment to the preservation and documentation of local Northern Ontario history through publishing. It consists of the HBS’s administrative records from the publication side of the enterprise. These include financial records which consist of author agreements, invoices, statements of royalties, and annual reports. These documents give insight into the financial side of the publishing end of the HBS. The fonds also includes correspondence from Doug Pollard and other HBS editorial staff to authors working with the book shop or other external individuals and groups. It also contains Doug Pollard’s personal records which include letters, notes, and keepsakes.

The fonds also contains the HBS published works and includes various manuscripts, publication specifications, and notes from authors that had published with the HBS over the course of its history. Manuscripts that were rejected but were never returned can also be found in this fonds. Furthermore, the fonds also contains many original photographs and sketches that were used in the publication process. Most notably are photographs (original and reproductions) of Haileybury and Cobalt in the late 19th and early 20th century. Examining the drafts, revisions, and proofs provides insight into how the HBS produced various works from the early 1970s until 2010. The fonds are of special interest to researchers of publishing history, business history, and Northern Ontario history.

The fonds consists of five sound recordings that attest to Don Hill’s professional work and research in Northern Ontario in the 1970s. Two copies of the double-LP vinyl record Men of the North Are We (1975), a collection of oral history interviews recorded throughout Northern Ontario by Don Hill and Anne Prevost, reflect Hill’s interest in both sound art, and documenting the traditions and work of pioneers in the area. Also included in the fonds are two 8-track tapes by the musical group CANO (Tous dans l’même bateau and Au nord de notre vie), as well as one electronic file of an interview with Wasyl Kohut, CANO’s violinist, by Don Hill (recorded December 31, 1979). These recordings highlight Hill’s professional work in radio, as well as his interest in the cultural landscape of Northern Ontario in the 70s.

The fonds consists of a PowerPoint presentation of 91 photographs created by Dorian Kotis. It documents different CANO shows while touring, but also gives some insight on life behind the scenes, work done by the technicians, and the setting of the stages. Among others, the following people are represented in the photos: André Paiement, Marcel Aymar, Rachel Paiement, Wasyl Kohut, John Doerr, Michel Dasti, David Burt, Michel Kendell, Mark Delorme, and Ben Mink. Some of the photos were taken in Ottawa, Maskouche, Glendon College, and at the Northern Lights Festival (Sudbury).

The John Doerr fonds documents Doerr’s professional life as a musician, composer, music producer, and administrator. The completeness of the files not only highlights Doerr's accomplishments and activities, but they also depict the path of the group CANO musique.

Composed of the files of the various administrators of CANO musique, namely John Doerr, André Paiement, and Gary McGroarty, the files cover the legal aspect of managing a music group and its financial administration. The files thus deal with promotion, production of concerts and LPs, and the creation of music and lyrics, and range from Doerr’s early involvement with the group CANO musique to the group’s dissolution and the subsequent founding of Majoma Music.

The John Doerr fonds not only attests to Doerr’s different roles, creations, and achievements within CANO musique but it also provides an overview of the different administrative and managerial aspects of a music group during the time period of 1975 to 1985. Moreover, the fonds documents the different processes, procedures, and interactions with records companies, as well as marketing and promotional strategies in those years.

John Doerr’s role as administrator of CANO’s financial records is well documented in the fonds. Doerr took over the responsibility of the accounts after André Paiement’s passing, at which time the records of 1975-1978 were transferred to him.

The financial records consist mostly of bank statements, budgets, expenditures, expenses and incomes, correspondence, and monthly royalty statements. The files provide insight into the operating cost for concerts and touring, as well as the cost associated with activities such as recording, rehearsals, buying instruments, and insurance payments. The files also attest to group’s organising and functioning as a cooperative. While the monthly statements for the royalties list each song and the amount received for each, it also indicates the popularity of their songs in a specific time frame. Some of the correspondence informs us on the contracts and agreements with recording companies, touring and festival organisations and on applications/bids to be part of festivals like the Ontario Bicentennial tour or representing Canada in Japan. It also attests to bids for different services they offered like staging, sound equipment, and music production.

The creation aspect is documented by the music scores, lyrics and correspondence which inform us more specifically on John Doerr as a musician, composer and producer. Indeed, music scores of many of the CANO songs – some with notations – provide insights on the process of collective creation of the music and lyrics and also on the translation of the lyrics. While some music scores are specifically for the parts of bass guitar, some are film scores. Doerr and Aymar composed music and produced the scores for films, as well as theme songs for programs like Légalement parlant or Great Movies (CityTV). A rough draft of video shooting images with notes to synchronize the music depicts part of the process for this type of composition. Also included are some texts of introductions of members of the group used during concerts, with notations on music to be played, the mood, and even the staging of the musicians. The fonds also contains some of Doerr’s diaries with notes on the rehearsals, tours and daily activities.

Many files document projects undertaken by the group after their dissolution. While not all projects were carried out, the fonds contains extensive documentation and correspondence on certain projects, such as agreements for the production of the CANO album The Millennium Collection: The Best of/Les Meilleurs Succès CANO, and the different agreements with all the partners in the realization of the project. Transcriptions of interviews with some of the members of CANO who talk of their time with the group and different events can also be found in the files on “CANO project,” as well as correspondence from fans, and pictures taken by fans during CANO concerts.

The fonds also contains Gary McGroarty’s files, who was the manager of the group. He turned these files over to John Doerr when he left the group. These files consist mostly of contracts with recording companies, the legal documents on the ownership of copyright for CANO songs and also for the different concerts. Membership, registration, payments made to different associations and unions as well as correspondence with these organizations are also found within those files. Some scheduling for rehearsals and traveling are also included. Marketing and promotional materials consisting of correspondence, opinions sent to specialized magazines, newspapers, press kits and also promotional materials such as cards, posters, letterhead with the official CANO logo illustrate some of the different marketing strategies used by the group.

Fonds Michael Gallagher consists of graphic material, textual records, sound recordings, video recordings and books documenting Michael Gallagher’s professional career. The majority of the materials are derived from Gallagher’s work for CANO musique, predominantly between the years 1975 to 1985, and reflect the breadth of the organization’s objectives, as well as Gallagher’s many roles within it. The fonds also contains some materials related to Gallagher’s time spent as a member of the Coopérative des artistes du Nouvel-Ontario (C.A.N.O.) in the years prior to CANO musique, as well as several graphic design projects undertaken after CANO musique dissolved.

The graphic materials in the fonds represent a significant body of work created by Michael Gallagher, mostly as photographer and artistic director of CANO musique. Photographic materials include images for CANO album covers, publicity photos of the band, shots of CANO in concert, as well as individual members of the band. Not only do these images show the change in members over time, they also document some of the recording studios and concert venues CANO played throughout the years. The fonds also contains numerous mock-ups for CANO albums, promotional materials, and posters, as well as original artwork of logos, reflecting the various steps in Gallagher’s creative process. Posters promoting CANO albums and specific concerts are also included. Additional visual concepts and designs created by Michael Gallagher for other Sudbury organizations are included in the fonds as well, such as posters, promotional material, and mock-ups for La nuit sur l’étang, Northern Lights Festival Boréal, and Théâtre du Nouvel-Ontario (among others).

In addition to graphic materials, the fonds also contains a number of textual records primarily related to CANO musique including correspondence to and from Michael Gallagher about the band, as well as records documenting the band’s history and lyrics, available in both English and French, showing the pride they took in reaching out to their fans in both official languages. Also included are a selection of Gallagher’s day planners, and administrative documents related to his role in CANO such as contracts and financial reports, through which a sense of CANO’s cooperative roots can be gleaned, as they outline stipulations such as equal sharing among members. Complementing these records is a thorough collection of newspaper and magazine clippings which provide a wealth of information about the band, as well as their reception throughout Canada and the United States.

The fonds also contains several other types of records, including 14 books, many of which are limited editions and contain personal inscriptions, four CANO 45 rpm singles, an English version of the album Au nord de notre vie, and a VHS tape of the National Film Board of Canada’s documentary CANO, Notes sur une expérience collective. These records further serve to position Michael Gallagher within the extremely active network of Franco-Ontarian authors and artists in Northern Ontario during the 1970s and 80s, as well as highlight CANO’s prominent place within that community.

The Bert Weir and Family fonds, consisting of correspondence, reports, newspaper clippings, sketches and publications, depicts Bert Weir’s professional, artistic and personal life. The documents depict his activities and achievements as a painter, sculptor, environmental activist and teacher. Bert’s life as a teacher and youth mentor is outlined through handwritten notes, photos, e-mail messages and newspaper clippings. These items document the many summer studios that he directed at his home in McKellar, as well as art programs in Southern Ontario in which he was involved. The documents also illustrate his time teaching art to underprivileged students in Knoxville, Tennessee (SSSP Knoxville Team), as well as his time as the art teacher for W.D Lowe Vocational in Windsor, Ontario. Photos, maps and journal entries outline personal interests of Weir. Maps with outlined routes give insight into the canoe trips that Weir undertook in such places as Algonquin Park and Quetico. Included as well are Weir’s sketches, documents relating to his construction projects and social activism. Correspondence, legal documents, and account books detail the business side of Weir’s activities. Weir and his first wife opened and ran Loon Studio, where they offered art courses. The fonds also includes documents relating to Elena’s work, as she was an accomplished painter and sculptor in her own right. Original sketches, books, photos and thumbnails relating to personal matters reflect the everyday life of Bert Weir and his family. Insight into his family life is provided by Weir family creations. Though there are no original paintings included in the fonds, promotional work, such as fliers and posters for exhibitions, and books on his work, attest to his acclaimed stature as an artist, and illustrates the evolution of his art. Correspondence with former students, other artists and owners of art galleries provide an insight in Weir’s artistic world and his friendships.

Collection consists of material collected by Paul Delaney in his research for his book After the Fire and during his many years as both an employee of Sainte-Marie among the Hurons and as a member of the Friends of Sainte-Marie.

The Entertainment Department fonds, RG 10, is arranged and described at the series level, with an accompanying file list. The fonds consists of a single series: Subject Files (RG 10-0-1).

Textual records in the fonds consist of correspondence, reports, contracts, schedules, minutes, charts and policies related to the Entertainment Department staff, musicians, performers and other entertainers, competition contestants, and CNE visitors. Graphic and printed materials include photographs of dancers, parades and parade floats, costumed characters, music and dance competitions, and other events coordinated by the Entertainment Department, as well as pamphlets and brochures.

Few documents exist for the years 1952-1980 (for further records from this time period, see RG 10-2, Music Department fonds). No records exist for the year 1984. When the CNE became independent in 2013, they retained their administrative and operational records from that year. Those records, and any new records created after that date, are the property of the CNE and are stored in the CNE offices or the CNE Archives. As a result, only one further accrual is expected for RG 10 for the records created between 2000 and 2012, which still fall under the retention schedule as of 2018.

The Music Department fonds, RG 10-2, is arranged and described at the series level, with an accompanying file list. The fonds consists of two series: Jack Arthur files (RG 10-2-1) and Subject Files (RG 10-2-2).

Textual records in the fonds consist of correspondence, reports, schedules, minutes, and publicity material related to the Music Department and Grandstand show staff, musicians, performers and other entertainers, competition contestants, and CNE visitors. Graphic and printed materials include photographs of dancers, performer headshots, and other events coordinated by the Music Department, as well as sheet music from the 1953 Grandstand show.

Few documents exist for the years 1960, 1962, 1973, and 1981. No records exist for the years 1954 to 1956, 1959, and 1963 to 1972.