Historical and cultural context Through their history, their culture has gone through a great deal of change in the past few hundred years since contact and colonization started. The history of the Residential Schools and the
potlatch ban was a part where the Canadian government tried to exterminate their cultural practices. This caused decades of effects with the near extinction of their language, the assimilation into mainstream Western society, and inter-generational trauma. Despite these points in their history, much of their culture is still intact. Some parts of their culture are nonexistent but historical, some parts have changed because of the modern world, and some parts are cultural occurrences but are not historical in a "pre-contact" sense.
Customs and daily life Squamish daily life is revolved around the village community. Before European contact, a village consisted of multiple dwellings called
longhouses that each housed a large extended family. Within a longhouse, different branches of an extended family operated in different parts of the house. A standard house would be 9 metres (30 feet) wide, 12 metres (40 feet) long and from 4-6 metres (13-19 feet) high, but they could vary in size depending on how big the family was. Within their territory many villages lived near resource or culturally significant places. Kinship ties connected of villages and neighboring Indigenous nations. Salmon was the main staple of food, once abundant in the area. Squamish cuisine features other seafood, such as herring, shellfish, and seal, complemented by berries and roots. In large longhouses festivities and ceremonies take place. Things such as naming ceremonies, funerals, memorials for the deceased, weddings, and spiritual events, happen in their longhouses.
Potlatch, elaborate events whose name is a
Chinook Jargon word meaning
to give involved a host or host family inviting guests to participate in a feast, dancing, and ceremonies. A person's position in the community is based on how much they gave of themselves to their people. As such, potlatches are hosted where gifts and material wealth is shared with the community. Food is prepared and a large feast is given to the community. All the foods eaten by their ancestors are considered traditional foods and are usually accompanied in the feast celebrating their Indigenous culture. It was this event that was banned and made illegal by the Canadian government from 1884 to 1951. During that time, their ceremonies and events went underground, only to be revived years later. Prior to contact, travel was primarily done by canoe. Large cedar trees are cut down and carved into a single cedar dug-out canoe. Families would travel to different villages or nations to visit their relatives, or in the summer months journey to resource rich camping sites to gather food and materials for the colder winter months. In 1992 the construction and revitalization of the canoe culture came back when they construct an ocean-travel canoe. This canoe is measured at 52 feet and was carved from a single cedar tree. Since that time multiple canoes have been carved, either for single-family use, or community-wide use.
Art Squamish art represents a sophisticated visual tradition that has evolved through centuries of cultural development and continues to thrive today. Traditionally, Squamish artists created works that communicated social status, spiritual beliefs, and historical narratives through a distinct style rooted in the
Northwest Coast art tradition.
Carving and wood working Carving is among the most esteemed Squamish art forms. Master carvers traditionally created
totem poles, ceremonial masks, boxes, and regalia from red cedar and other local woods. Totem poles served multiple functions: they commemorated important events, recorded family histories, and displayed the wealth and prestige of their owners. Each figure carved into a pole carried specific meanings within Squamish culture, with supernatural beings, animal ancestors, and human figures representing different family lines and spiritual connections. Traditional carving techniques were passed down through apprenticeship, with knowledge held primarily within families of high status. The intricate designs follow consistent design principles featuring formline elements, ovoids, and U-shapes that characterize Northwest Coast Indigenous art. Contemporary Squamish carvers have revitalized these traditions, creating both traditional pieces and modern interpretations that honor ancestral practices while engaging with contemporary artistic expression. Cedar working extended beyond totem poles to include practical and ceremonial objects: cedar boxes lined with cedar bark, fishing hooks, harpoon heads, and architectural elements. The harvesting of cedar itself was a sacred and carefully regulated practice, with ceremonies and protocols governing how trees were selected and used.
Weaving and textiles Weaving represents another central Squamish art form, particularly the production of blankets and clothing from cedar bark, plant fibers, and animal wool. Weavers, traditionally women of noble families, produced the distinctive geometric patterns characteristic of Coast Salish textiles. These blankets held tremendous value—they were displayed at potlatches, given as gifts, and worn during important ceremonies. Particularly prized were blankets woven from mountain goat wool, which was collected in high alpine areas and represents the labor of highly skilled hunters. The white wool was often combined with cedar bark or other plant materials to create striking contrasting patterns. Woven designs often incorporated symbolic elements representing family crests, natural phenomena, and spiritual concepts. Contemporary Squamish weavers continue this tradition, using both traditional materials and modern textiles to create works that are exhibited, sold, and used in ceremonies. Language is embedded in weaving practice—many weavers use Squamish names for techniques, materials, and design elements, reinforcing cultural knowledge through creative practice.
Painting and graphic art Two-dimensional art including painting and engraving followed the distinctive formline style of Northwest Coast Indigenous art. Artists created designs on hide, wood, and other surfaces that incorporated mythological narratives and family symbolism. The style is characterized by bold black lines, primary colors, and a sophisticated use of positive and negative space. In the modern era, contemporary Squamish artists have adapted these traditional design principles to painting, printmaking, and digital media. Many artists explicitly draw on ancestral imagery while experimenting with new materials and techniques, bridging traditional knowledge with contemporary artistic practice.
Contemporary art and revitalization The revitalization of Squamish art practices accelerated significantly from the late 20th century onward, particularly following the lifting of the potlatch ban in 1951. As communities reclaimed suppressed traditions, artists began formally documenting and teaching traditional techniques in educational settings. Today, Squamish art appears in museums, galleries, and public spaces throughout the region. Contemporary Squamish artists work across media—sculpture, installation, performance, visual art, and mixed media—while many deliberately engage with traditional iconography and materials. Art serves as a vehicle for cultural assertion, language preservation, and political statement about Indigenous rights and sovereignty. The 1992 ocean canoe carving project, which created a 52-foot cedar canoe from a single tree, exemplifies how artistic practice reinforces cultural identity and community cohesion. Public art commissions, including totems and other installations in Vancouver and surrounding municipalities, assert Squamish presence in urban spaces historically occupied by their ancestors. These works function both as cultural expression and as acts of reclamation within colonial contexts.
Language The
Squamish language, or Sḵwx̱wú7mesh sníchim, is the ancestral language of the Squamish people. It is considered an important part of cultural revitalization. Although nearing
language extinction, it is still used in ceremonies, events, and basic conversation among some. As the language is moribund, with no children learning it as a first language and all language speakers over the age of 65, much work is being done to preserve and revitalize it. The language is part the
Coast Salish linguistic group, and most closely related to
Sháshíshálh (Sechelt), and (
Halkomelem) and Xwsa7km (
Lhéchalosem). Many anthropologists and linguists have worked with Squamish people and their language including
Franz Boas,
Charles Hill-Tout,
Homer Barnett, and
Aert H. Kuipers. Since the late 19th century the language has had a history. Before contact, it was the prominent language of all the villages, along with the
Chinook Jargon. Most children would learn Chinook as a first language because it was so basic, then Squamish language as they become older. After the spread of diseases which caused massive population drops and after colonizations of the territory, the language became a minority language in its own lands. When the Canadian government enforced an
assimilationist policies regarding their culture and language, a
residential school was set up in the village of
Eslha7an with children coming from many Squamish villages, plus some Church officials sending children to another school in
Sechelt. At the school, a home for many children 10 months out of the year, the children were forbidden to speak their Squamish language. This caused a deep resentment about speaking the language, and so the next generation grew up without any knowledge of their native tongue. Over the years, English became the prominent language. Then during the 1960s, a great deal of documentation and work took place to help in the revitalization of the Squamish language. The BC Language Project of Randy Bouchard and Dorthy Kennedy undertook more documentation under the direction of these two main collaborators of this project. They devised the present writing system that is used for the language. Eventually a local
elementary as well as a high school came to include Squamish language classes in place of the usual
French language option. A children's school called Xwemelch'stn Estimxwataxw School, meaning ''Xwmelch'stn Littleones School'', with grades kindergarten to 3, was built to assist in
language immersion, with plans to expand it into a full immersion programmed school. ==Food and cuisine==