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

Charlie Bob

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Contents of this path:
1. 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.
2. Pals
3. William in Sliammon
4. New Baby
5. 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 sosən Galligos. Smokey John is on the left (wearing a hat), and lɑsɑ is in front of him.
6. Bear Hunt
10. Walnut Lodge
13. Colonialism: Losing Baby Jane header
14. Wellness: Twins are Gifted header
15. Territory: tʼɩšosəm and Herring header
16. Wellness: Coming of Age header
17. Colonialism: My Dog Patsy header
18. Brem River Valley
19. Showcasing This Book
20. Emmonds Beach
21. Elsie at Deep Bay
22. Wedding Day
23. tiyskʷɑt (1)
24. tiyskʷɑt (2)
25. Sharon
26. Rock Alignments
27. Sharon Paul
28. Seagulls on Guard
29. Mitlenatch Island, the Landing
30. Logging in Theodosia (1)
31. Logging in Theodosia (2)
32. Hospital (3)
33. Baby Papoose (1)
34. Wedding
35. Theodosia
36. Hospital (1)
37. Hospital (2)
38. Graduation (1)
39. Grace Harbour (2)
40. Grace Harbour (1)
41. Friends (2)
42. Friends (1)
43. Fish Traps (2)
44. Fish Traps (1)
45. Boys
46. Collecting Branches
47. Elsie and Glen (1)
48. Elsie and Glen (2)
49. Elsie and Cathy (1)
50. Elsie and Cathy (2)
51. Christmas (1)
52. Christmas (2)
54. Baby Massage (3)
55. Baby Massage (2)
56. Baby Massage (1)
57. Jeannie in the Crib
58. Buddies (1)
59. Author Group (4)
60. Author Group (5)
61. Author Group (6)
62. Author Group (7)
63. Author Group (1)
64. Author Group (8)
65. Sharing the Book (1)
66. Sharing the Book (2)
67. Sharing the Book (3)
68. Sharing the Book (4)
69. Sharing the Book (5)
70. Dads and Kids
71. Master Basket Makers
73. Clean Roots
74. Enjoying the Day
76. Paul Family Photo
78. Naming Ceremony
79. mɑksɛmɑ with his catch
80. Lancelot Inlet and Peninsula
82. Old Single Lane Bridge
83. Powell River Motor Traders
84. čine (Jeannie Dominick)
85. Pictograph on the Theodosia River With Elsie Paul
86. Three Eggs in Nest
87. Theodosia, Logged
90. The Shield
91. At the Docks
94. My Girls
95. Daughters
96. The Boys
97. Masters
98. Author Group (2)
99. Author Group (3)
100. Dam Construction
101. Sliammon Soccer Team
102. Chief Tom’s Family
103. Berry Picking (2)
104. Childhood Friends
105. Procession from Our Lady of the Rosary Church
106. Baby Marlane
107. Groundbreaking
108. Pullers
109. Willie Dave With the Hackett Sisters
110. Mom at Sacred Heart
111. On the Road
112. Visiting lɑsɑ
113. Going to Church (2)
114. Helping Ma
115. Traditional Prayer Songs
116. A Visit with Auntie Katherine
117. Going to Church (1)
118. Buddies
119. Willie at Work
120. Willie and Jeannie
121. Newlyweds
122. Party Time
123. Say Cheese
124. Collaborators
125. Bill, Rose, and čine
126. The Ladies
127. Bill, Rose, and čine
128. With Dad
129. Sundays
130. Going to Town
131. čine with Presents
132. Cafeteria
133. Music
134. Elsie Paul with King of the Sea
135. Christmas with the Girls
136. Kora's Strawberry Farm
137. Sharing Knowledge
138. The Dam
139. Merrill and Ring Lumber Company Logging Camp at Theodosia Inlet
140. Lodge Interior
141. Sing Lee Building
142. Clear-cut
143. 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.
144. Frank’s Chum Salmon
145. ɬaʔamɩn Soccer Team
146. Kids on Steps ɬaʔamɩn children pictured on the steps of the old day school. Back row, from left: Johnny John (Katherine Dominick’s son), Charlie Peters (Williams), Willie Peters, Junior Point. Row two, from left: Barney Francis, Joe Harry, Moses Wilson, Louie Tom. Row three, from left: Janet Galligos, unknown, Evelyn Galligos, Nellie Peters. Front row, from left: Stella Olney, Maggie Vivier, unknown, Bertha August, Jeannie Paul.
147. Settlers’ Camp
148. Soccer
149. tɑmɑ
150. 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).
151. Paul Family
152. Open-Air Learning
153. Molly and Annie
154. Repatriation
155. Elders
156. tʼᶿɛwqʼ (Elderberries)
157. Residential School Chapel (2)
158. Sechelt Residential School
159. Charlie Bob
160. Class of 1917
161. Residential School Chapel (1)
162. Away from Home
163. Elsie and Teresa at the Cannery
164. Elsie at Home
165. Portrait of Molly and lɑsɑ
166. Death but Not Sin
167. A Day in Town
168. Shinglemill
169. Seiners
170. Cabin in 1954
171. mɑksɛmɑ (Sandy Timothy)
172. Cod Fishing
173. Bill Galligos
174. Johnny Bob and Jimmy Peters
175. Clams Elsie Paul’s cousin David George (1948–53) with butter clams dug from in front of the reserve. At the time, shellfish were clean and plentiful, but clams are no longer safe to harvest from this site. The very large cross in the background is in the cemetery. hʌwhegus (advisers in the community), including Chief Tom Timothy and Bill Mitchell, were buried near the cross. The cross blew down at some point and was not replaced.
176. Paddle Carving
177. The Mill
178. Fishing Preparations
179. Charlie Peters
180. Sliammon Waterfront
181. Logging
182. Rodmay
183. Mending the Net
184. Delivery Truck
185. Racing the King of the Sea
186. Canoe Building
187. Sliammon Sacred Heart Church
188. Building the King of the Sea
189. mɑksɛmɑ’s Cabin in toχʷnɑč (Okeover)
190. The Powell River Royal Canadian Mounted Police
191. After the Fire
192. Remains of the Fire
193. Makeshift Church
194. Katherine Dominick and Bill Brown
195. Health Centre
196. Baby Papoose (2)
197. Resource Depletion: The Last Year of Herring
198. Dugouts
199. Fishing Boat
200. Boat Ramp at the Shinglemill
201. Patricia Theatre
202. Day School
203. Baskets in Progress
204. Baskets for Hawaii
205. Drying Herring Roe
206. Annie Blaney at Okeover
207. Herring Roe
208. Rodmay Hotel
209. Patricia Theatre, Interior
210. 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.
211. 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.
212. 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.
213. 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.
214. Dedicated Work Partners
215. Church House
216. Homalco
217. Squirrel Cove
218. Lewis Channel
219. Stay Overnight
220. qʼɑʔqʼeyq’ɑy (Grace Harbour)
221. Settlers’ Camp (1)
222. Bliss Landing
223. Aerial View of Okeover
224. Okeover Beach
225. Aerial View of Squirrel Cove Community
226. Pictograph at Okeover
227. toqʷɑnən (Theodosia)
228. Clam Garden
229. Pitch Tree
230. Wiping out the Herring
231. Chief tɑmɑ and the Timothy Children
232. Granny with the Kids
233. At the Beach
234. Wearing Slacks
235. Elsie, Agnes, and Children
236. 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)
237. Willie and Stanley
238. Molly Williams and Olive
239. On the Town
240. Willie and Alec
241. Berry Pickers' Cabin
242. Going to Work
243. Berry Picking (1)
244. 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.
245. The Children at Home
246. First Home
247. Baby Glen
248. Bride and Groom
249. Elders and Cedar Roots
250. Elsie and Stella