by Austin Aan’yas Harry

The waterfront of what is now known as False Creek looked very different pre-contact and had some very important landmarks to the Squamish Peoples. Laying beneath the urban blanket of Terminal Avenue is an ancient body of water known as Skwácháýs

Skwácháýs
[Sḵwá • cháýs]
place where water is drawn down into a hole; whirlpool (LM); water spring, or water coming up from ground beneath

X̱áywá7esks
[X̱áy • wá7 • esḵs]
narrow passage (LM); two points exactly opposite (AJ)

“Long before the arrival of Europeans, the Skwácháýs area held a special significance for the local Indigenous peoples. We saw it as a land of abundance, where we could find everything needed to survive and thrive. The area was characterized by its lush salt marshes, teeming with life and nourished by underground springs that flowed up from the earth. These springs were not just seen as sources of water but also as portals to the spiritual realm. We considered Skwácháýs to be a place of transformative power, where we could connect with the spirit world and receive spiritual guidance and healing. For us, Skwácháýs was not just a place to live but a sacred site that held deep significance. It is a place where we could connect with our ancestors, the spirit world and nature, and it was believed that by doing so, we could improve our health and well-being.”

-James Harry

Skwácháýs was described as a place of whirlpools and portals. It is said to have been linked to bodies of water in the interior of Metro-Vancouver. One legend depicts a Sea Lion that was speared at Skwácháýs and later found around the Burnaby Lake/ Deer Lake area. 

The following map shows both the coast-line of Vancouver pre-contact as well as lost streams that have been displaced or removed entirely. One can see how Skwácháýs may have been connected via stream networks to in-land Vancouver and Burnaby.

Although some aspects of this history have been acknowledged, there is still significant potential to share these stories more prominently. This could be achieved through initiatives like signage along bike routes or public art installations in key locations. Such efforts would support Truth and Reconciliation while also helping Metro Vancouver shape a distinct identity.

For Indigenous peoples, history has always been deeply tied to the land through storytelling and art. Important sites—whether for spiritual practice, resource gathering, or travel—were enriched with oral histories that gave them cultural significance. These stories taught boundaries between nations, seasonal practices, and warnings of danger. Without written records, this knowledge was passed down orally, connected to the land itself.

As the landscape has drastically changed, many of these features are now unrecognizable—Skwácháýs being a prime example. From the Coast Salish perspective, honoring this history in the modern context can be achieved by representing Coast Salish art on Coast Salish land.

Even in today’s modern world, connections to these historic areas can still be found through pathways like the Central Valley Greenway. This route reflects the interconnectivity of the region’s waterways, yet the stories tied to these places remain largely unknown. The spirit of Skwácháýs lies dormant, hidden beneath the urban sprawl that now covers much of Metro Vancouver.

To revive this spirit and honor these histories, we must take deliberate action. Public art, interpretive signage, and storytelling initiatives along these pathways can help bring these stories to light. Let’s work together to awaken these histories, fostering understanding and reconciliation while reconnecting the community to the land’s Indigenous roots.

Austin Aan’yas Harry is a Coast Salish Artist based in Vancouver BC, Canada. He is of the Wolf Clan from the Squamish Nation and Thunderbird Clan from the Namgis Nation.

From a young age Austin worked with his father Xwalacktun Rick Harry teaching youth about the history and culture of the Squamish people. Austin found a love for digital art and media through movies, comic books, and video games but saw a lack of representation of the culture he was so proud of.

He worked in the video game industry for a number of years before deciding it was time to work towards his dream of bringing indigenous culture to the mainstream through art and design. Indigital was founded with this goal in mind.

More on Austin and his art at: indigitaldesign.ca