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As I Remember It: Teachings (Ɂəms tɑɁɑw) from the Life of a Sliammon Elder Material in this book may be culturally sensitive for a number of reasons. This label identifies such content by stating: “it is ours.”

ɬaʔamɩn teachings, laws, and practices that flow from them are subject to the ʔəms naʔ label because they are communally held and collectively stewarded by ɬaʔamɩn people for future generations. Much of this knowledge is captured in our legends, for example. The authors recognize that ɬaʔamɩn, Klahoose, and Homalco families have their own tellings of the legends.

Other parts of the book are labelled “ʔəms naʔ” because the ongoing nature of settler colonialism means that the histories discussed here are not part of a distant past. For close to a century, colonial laws and policies prevented community members from sharing teachings freely in their community without fear of punishment or retribution, imposing silences that remain even today. Thus this label also applies to chapters that discuss the genocidal practices that sought to interrupt the transmission of teachings and to sever ɬaʔamɩn sovereign rights to their territory.

Please treat information and photographs marked with this label with special care, especially if you plan to share them with others. The Sliammon-language term for this label means “it is mine.” This book contains the teachings and history of the ɬaʔamɩn people as remembered and narrated by Elder Elsie Paul. The effort and care she takes in this work is important. She offers a counter-narrative to incorrect and inappropriate interpretations previously drawn by settlers. Please respect Elsie Paul’s right and responsibility to relate the history and teachings in her own words. She does so from her own perspective and does not attempt to speak for all ɬaʔamɩn people. Please attribute the stories shared in this book to Elsie Paul.

Some sections of this book are authored by other individuals and should be attributed to the appropriate person(s) as indicated. This label refers to a teaching that emerges throughout this book: “you learn from someone by example.” (The literal translation of tiʔiwš is “fast learner.”) The goal of this book is to share ɬaʔamɩn teachings and history widely with ɬaʔamɩn community members, students, and teachers at all levels, and with any other interested readers. This is Elsie’s goal in sharing ʔəms tɑʔɑw, and all of the authors hope the book serves an educational purpose. The authors ask readers to take care to use this information respectfully and in context.

tiyskʷɑt (1)

This page has tags:

Contents of this tag:
6. Health Centre
7. Makeshift Church
8. After the Fire
9. First Home
10. Remains of the Fire
11. Sliammon Sacred Heart Church
12. Delivery Truck
13. Sliammon Village Waterfront
15. Resource Depletion: The Last Year of Herring
17. Sliammon Day School In addition to attending the Sechelt Indian Residential School, Elsie Paul occasionally attended a day school in the Sliammon community in the winter months. The Sliammon day school teachers were Pat McGuinness and Mr. Gallagher. Back row: Unknown boy with hat, Katherine Blaney, Teacher Pat McGuinness, Rosaline Wilson, unknown girl, Marilyn Louie (tall in the very back behind unknown girl). Middle row: Ernie Galligos (shorter boy), Joe Paul, Agnes Paul, unknown girl. Front row (small children): Sarah Tom, Maggie Wilson, and Joe Francis (Elsie Paul’s half brother)
18. Fish Traps (1)
19. Fish Traps (2)
20. Dugouts
21. At the Beach
22. Fishing Boat
23. tiyskʷɑt (1)
24. Going to Church (1)
25. Mom at Sacred Heart
26. tʼɩšosəm The ɬaʔamɩn village of tiyskʷɑt. Buildings, from left: Frank Williams house; Bob George’s house; Sliammon Sacred Heart Church, Sam August’s house; Sam August married Teresa (tɑlɛsɑt), mother to Albert August. Keh Kay Keh (Molly Williams’s house); Molly was from Sechelt. This eventually became Johnny George and Mary George’s house. Sam Adams house; Stanley Peters and Nellies house. Joe (Chilena) and Molly Galligos house: Far right is Gilbert Francis’s house, Chi-chia’s dad. He eventually tore this down and built a new house on the site. This is shown in a later picture from the same perspective. Dance hall is behind the church. Smokehouses in foreground. Smokehouses were typically located on the beach.
27. tiyskʷɑt (2)
28. Sliammon Waterfront
29. Wedding
30. Dam Construction
31. On the Road
32. Territory
33. Give It to Them
34. Horizontal Fly over Water Point to Beach
35. Old Single Lane Bridge
36. Preparing Fish and Community Drive-Through
37. Kla Ah Men | Tla’amin | Sliammon
Contents of this tag:
5. Hospital (2)
6. The Powell River Royal Canadian Mounted Police
7. A Day in Town
8. Fish Traps (1)
9. Fish Traps (2)
10. Bows and Arrows Powell River community members commemorated British Columbia’s centennial by dressing up in costumes that reflected their imagination of how “Indians” and “pioneers” looked in the nineteenth century. This was a common practice in settler communities in Canada and the United States. Settlers “played Indian” for reasons that ranged from political protest to entertainment. The act of “playing Indian” expressed a settler sense of entitlement to the places that they or their ancestors had colonized. The costumes did not demonstrate meaningful relationship or engagement with Indigenous peoples or practices. Today, we understand these occasions to be forms of cultural appropriation.
11. Children “Playing Indian” Powell River community members commemorated British Columbia’s centennial by dressing up in costumes that reflected their imagination of how “Indians” and “pioneers” looked in the nineteenth century. This was a common practice in settler communities in Canada and the United States. Settlers “played Indian” for reasons that ranged from political protest to entertainment. The act of “playing Indian” expressed a settler sense of entitlement to the places that they or their ancestors had colonized. The costumes did not demonstrate meaningful relationship or engagement with Indigenous peoples or practices. Today, we understand these occasions to be forms of cultural appropriation.
12. Day School
13. Boat Ramp at the Shinglemill
14. Patricia Theatre, Interior
15. Rodmay Hotel
16. Willie and Stanley
17. Patricia Theatre
18. Golfing “Indian” Powell River community members commemorated British Columbia’s centennial by dressing up in costumes that reflected their imagination of how “Indians” and “pioneers” looked in the nineteenth century. This was a common practice in settler communities in Canada and the United States. Settlers “played Indian” for reasons that ranged from political protest to entertainment. The act of “playing Indian” expressed a settler sense of entitlement to the places that they or their ancestors had colonized. The costumes did not demonstrate meaningful relationship or engagement with Indigenous peoples or practices. Today, we understand these occasions to be forms of cultural appropriation.
19. Society Lady “Indians” Powell River community members commemorated British Columbia’s centennial by dressing up in costumes that reflected their imagination of how “Indians” and “pioneers” looked in the nineteenth century. This was a common practice in settler communities in Canada and the United States. Settlers “played Indian” for reasons that ranged from political protest to entertainment. The act of “playing Indian” expressed a settler sense of entitlement to the places that they or their ancestors had colonized. The costumes did not demonstrate meaningful relationship or engagement with Indigenous peoples or practices. Today, we understand these occasions to be forms of cultural appropriation.
20. tiyskʷɑt (1)
21. Sing Lee Building
22. The Dam
23. Rodmay
24. Walnut Lodge
25. Settlers’ Camp
26. Lodge Interior
27. Hospital (1)
28. Hospital (3)
29. The Mill
30. Cafeteria
31. Dam Construction
32. Powell River Motor Traders
33. Designated Area
35. We Were Already Here
36. The Chinese Restaurant
37. Preparing Fish and Community Drive-Through