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As I Remember It: Teachings (Ɂəms tɑɁɑw) from the Life of a Sliammon Elder 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. 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. 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.

Beautiful Baskets

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Contents of this tag:
Contents of this tag:
3. Digging for Roots
4. Clean Roots
5. Master Basket Makers
6. Baby Baskets Baby baskets made by Molly Timothy (Granny Molly) in the early 1950s. The basket on the left was made for Jeannie, born to Elsie Paul in 1954, and has since been used for all of Elsie’s children, grandchildren, and great-grandchildren. The blue design is made with natural and dyed cherry bark. The basket on the right was made for a daughter of Elsie’s Aunt Agnes, and the design is woven with dyed reed.
7. Fine Craftsmanship
8. Basket for Baby Jeannie
9. Elders and Cedar Roots
10. Granny Molly’s Baby Baskets Side by Side Baby baskets made by Molly Timothy (Granny Molly) in the early 1950s. The basket on the left was made for Jeannie, born to Elsie Paul in 1954, and has since been used for all of Elsie’s children, grandchildren, and great-grandchildren. The blue design is made with natural and dyed cherry bark. The basket on the right was made for a daughter of Elsie’s Aunt Agnes, and the design is woven with dyed reed.
11. Basket for Aunt Agnes’s Daughter
12. Learning by Watching
13. Root Cleaning
14. Working Together
15. Cleaning Roots
16. Baby Papoose (1)
17. Baskets for Hawaii
18. Baby Papoose (2)
19. Baskets in Progress
20. Repatriation
21. Beautiful Baskets
22. Masters
27. Root Digging
28. Part of Our Survival
29. The Chinese Restaurant
Contents of this tag:
Contents of this tag:
Contents of this tag:
7. Elsie at Deep Bay
9. Family Portrait Elsie Paul’s great-great-grandparents and family. The photograph, which was painted over, includes the medicine man featured in the story “He Got His Spirit Back.” Standing, from left: Teresa Tom (tɑlɛsɑt), Chief Tom’s daughter; Cecilia (child), talɛsat’s daughter; Katherine Dominick, daughter of Bob George (tiyʔəpθot) and sister to Granny Molly; Louise Bob, Chief Tom’s daughter; Emily Bob, Chief Tom’s daughter; Bob George (tiyʔəpθot), Granny Molly’s father. Seated, from left: Felix (toqʷɑnən pɛlɩks), medicine man and Elsie’s step-great-great-grandfather; Ann, Elsie’s great-great-grandmother and Granny Molly’s grandmother; Jeannie Bob (čine), Granny Molly’s mother; little girl (name unknown). Seated in foreground: Charlie Bob, the man who lost his spirit.
10. Wedding Day
11. Bride and Groom
12. Three Generations
13. Paul Family Car
14. Katherine Dominick and Harmony Johnson
16. Chief tɑmɑ and the Timothy Children
17. Party Time
21. Siblings Elsie Paul with her siblings at her brother Barney’s house in the early ’80s. Standing, from left: Teddy Francis (Elsie’s brother), Leo Francis (Elsie’s brother), Lillian Francis (Elsie’s niece, Barney Francis’s daughter), Elsie Paul, Doreen Hopkins (Elsie’s sister), Charlene Francis (Elsie’s niece), Jason Francis (Elsie’s nephew), Greg Francis (inch, Elsie’s nephew). Seated, from left: Aunt Agnes McGee, Rita Francis (Elsie’s sister), Nancy Phillips (Elsie’s sister), Vangie Francis (Elsie’s niece), Elizabeth Blaney (Elsie’s sister), Lily Timothy (Elsie’s mother).
24. Wedding
27. Beautiful Baskets
28. Rowing with mɑksɛmɑ
29. Give It to Them
30. Gifted People
32. New Year’s Dance
33. Our People Governed Themselves
34. Grieving
Contents of this tag:
8. 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.
9. 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.
10. 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.
11. 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.
12. Patricia Theatre, Interior
13. Rodmay Hotel
14. Patricia Theatre
17. Cafeteria
18. Beautiful Baskets
19. Territory
23. Contact Happened
24. Designated Area
26. We Were Already Here
27. Lonely and Homesick
28. Police Patrol (2)
29. Police Patrol (1)
34. The Police Were Standing by the Bed
Contents of this tag:
23. Elders and Cedar Roots
24. Christmas Blankets
25. Cutting Fish
27. Elsie at Deep Bay
29. Wedding Day
30. Christmas (1)
31. Mother’s Day, 1980
32. Elders and Friends
33. Elsie and Glen (2)
34. Assessing the Catch
35. Elsie and Glen (1)
36. Elsie and Stella
37. Working Out
39. Retirement
40. Bride and Groom
41. Joining Council
42. Baby Glen
43. mɑksɛmɑ’s Cabin in toχʷnɑč (Okeover)
44. Graduation (1)
45. Preparing an Offering
46. First Home
47. Prince William
48. Party at Elsie Paul’s House
49. Elders' Gathering
50. At the Elders Lodge Elsie Paul with ɬaʔamɩn Elders when she was running the Elders’ program. Front row, from left: Elsie Paul, Henry Bob, Katherine Blaney, Mary Harry, Rose Louie (behind Mary), Joe Paul Sr. (behind Rose), Willie Bob, Calvin Harry. Back row, from left: Louise Bob, Marie Hackett (behind), Nora Wilson, Annie Dominick, Dave Dominick, Agnes McGee, Rose Peddie, Peta Francis (Okee Dokee), Johnny George, Charlie Charlie, Peggy Harry.
51. Having a Laugh
52. Friends (1)
53. The Ladies
54. The Children at Home
55. Visiting with Annie and Norman Gallagher
56. Elsie at Steveston in the Late 1940s
57. Sliammon Village Waterfront
58. Language Work Linguist Honoré Watanabe stands behind ɬaʔamɩn Elders at the Elders Lodge. Elsie was caretaker and lived at the Elders Lodge for many years. From left: Marion Harry, Mary George, and Elsie Paul. Honoré worked extensively with these three women over more than two decades, living with Elsie during his time in Sliammon. Marion was Elsie’s “little sister” at residential school and worked with Honoré to transcribe and translate the selections in Sliammon language included in this publication.
59. Elsie at Home
60. A Day in Town
61. Collaborators
62. Elsie and Teresa at the Cannery
63. Elsie and Cathy (2)
64. Elsie and Cathy (1)
65. Boat to Westview When this photo was taken, it was quicker to get to town by boat than by foot, since people didn’t have cars yet. Peggy Harry is at the back of the group (with barrettes in her hair); Molly Timothy is on the right (with headband); Elsie Paul is in the centre (with flowers in her hair); Stella Timothy is centre right, beside Elsie; further right, holding a baby, is Agnes McGee, and in front of her is Sosen Galligos. Smokey John is on the left (wearing a hat), and lɑsɑ is in front of him.
66. Elsie, Agnes, and Children
67. Party Time
68. Wearing Slacks
70. On the Town
71. Newlyweds
72. Going to Church (1)
73. Settlers’ Camp (1)
74. Dedicated Work Partners
76. Repatriation
78. Siblings Elsie Paul with her siblings at her brother Barney’s house in the early ’80s. Standing, from left: Teddy Francis (Elsie’s brother), Leo Francis (Elsie’s brother), Lillian Francis (Elsie’s niece, Barney Francis’s daughter), Elsie Paul, Doreen Hopkins (Elsie’s sister), Charlene Francis (Elsie’s niece), Jason Francis (Elsie’s nephew), Greg Francis (inch, Elsie’s nephew). Seated, from left: Aunt Agnes McGee, Rita Francis (Elsie’s sister), Nancy Phillips (Elsie’s sister), Vangie Francis (Elsie’s niece), Elizabeth Blaney (Elsie’s sister), Lily Timothy (Elsie’s mother).
79. A Visit with Auntie Katherine
81. Christmas with the Girls
82. Traditional Prayer Songs
83. Baby Marlane
88. Honorary Doctorate
89. Helping Ma
90. Going to Church (2)
91. Paul Family
93. Elsie Paul with King of the Sea
94. Childhood Friends
96. Important Medicine
97. The Shield
98. Friends (2)
99. Beautiful Baskets
101. Author Group (7)
103. Author Group (5)
104. Rowing with mɑksɛmɑ
105. Author Group (4)
106. Pals
107. Author Group (8)
108. Author Group (6)
110. Life History of This Project
111. Give It to Them
112. Sharing the Book (5)
113. Sharing the Book (2)
114. Territory
115. Becoming Strong
116. Cleansing
117. Sharing the Book (3)
118. tʼᶿɛwqʼ (pronunciation)
119. Living with the Land
120. Community Activities
121. Contact Happened
122. Designated Area
123. Sharing the Book (4)
124. Old-Timers and Hard Work
125. You Thank It
127. Gifted People
128. Watch Your Children
131. The Young Girl and Eleven Puppies (Sliammon)
132. Author Group (2)
133. The Chinese Restaurant
135. My Dog Patsy
136. Times of Transition