January Rogers is a Mohawk/Tuscarora artist from Six Nations of the Grand River whose career has always been about amplifying Indigenous voices. A multi-disciplinary creator, she’s published seven books of poetry, including Splitting the Heart, Red Erotic, Totem Poles and Railroads, and Ego of a Nation. Her audio-visual work has earned honours like Best Music Video at the American Indian Film Festival (2020) and the imagineNATIVE Best Experimental Sound Prize (2021) for her piece The Struggle Within.
Through her company, Ojistoh Publishing and Productions, she’s worked across spoken word, theatre, radio, video poetry, and sound art, producing projects like NDNs on the Airwaves (2022) and introducing audiences to groundbreaking Indigenous talent as the longtime host of Native Waves Radio for over 10 years. Her work has always been about celebrating Indigenous creativity, but in recent years, she’s felt called to step into a new role. This time, as a music creator herself.
“I started asking myself, what’s my vision going forward in my career? I’ve been fortunate to work for myself for many years, choosing meaningful contracts that kept me rooted in the work I love. But it still didn’t fulfill the dream I’ve carried for so long, the dream of working in music.”
For January, that dream wasn’t about leaving her past successes behind. It was about expanding them, making the leap from poet to songwriter and performer, and carving out a place for herself in the Indigenous music scene she has long championed. As someone who has always had a natural ability to manage her career, to plan, and to build on what she loved, she knew that she could do it.
Her passion for music traces back to her years in radio, especially during her time hosting Native Waves Radio. “It was such an exciting moment,” she recalls. “I got to introduce listeners to the incredible range of Indigenous music happening at the time, not just country or folk, but artists like Burnt Project, who we recently lost the lead singer of, and acts like A Tribe Called Red when they first hit the scene. Native rock, powwow fusion excited me, and if it excited me, I knew it would excite listeners too.”
Even as a non-performer, January found ways to share that passion, writing music reviews for BC Musician magazine and weaving her love of sound into her writing career. When she returned to Six Nations in 2019, she finally had the time and space to double down and move into music management, festival production, and, eventually, performing her own songs.
“It felt like all the pieces were starting to align,” she says. “And when I saw the call for the Cultural Cadence program, it felt like proof the stars do align.” January knew she could step into the music industry. “For me, it was never a question of if I could do this, I knew I could. The real question was how.”
Enter the Indigenous Music Office’s Cultural Cadence program.
Transitioning into music wasn’t simple. “The industry has its own language (contracts, royalties, networks) and figuring out where to start can be overwhelming, especially for Indigenous music creators who move differently than the mainstream industry,” January explains.
Through the program, she was paired with Alan Greyeyes, a respected leader in the Indigenous music ecosystem and chair of the IMO. “I felt so fortunate,” January recalls. “Alan knows so much about this industry. When I asked questions, I had to be quick with my notes because he’s fast, detailed, and shares everything you need to know.”
What stood out most wasn’t just Alan’s knowledge but his purpose. “His motivation is so clear. He’s in the music industry to help Indigenous families thrive. He does this work so music creators can feed their families, build community, and create sustainable careers. Knowing that made me reflect on my own motivation.”
For January, that motivation is just as strong: to share and celebrate the talent and excellence she knows exists within the Indigenous music scene.
“I believe in it so deeply,” she says. “The music coming out of the Indigenous scene is innovative, exciting, new, and absolutely worthwhile. And I recognized the need for an ecosystem that supports that talent. It’s mutually beneficial for the artist and the person who supports the artist. That’s how we all move forward together.”
In Cultural Cadence, mentorship wasn’t just about receiving wisdom. “Mentorship is always two ways,” January says. “There’s learning on both sides, and that’s what makes it powerful. It’s a conversation.”
When asked to bring a project to develop during the program, January pitched an Indigenous Music Video Pitch Competition, drawing on First Nations Canadian arts journalist and chairperson of the Canada Council for the Arts Jesse Wente’s advice: “If you’re building, build from within.” She rooted the idea for the project in Six Nations, partnering with Seeing Red Media, a group known for producing culturally grounded events.
With Alan’s guidance, she refined everything from eligibility rules to event structure. “Alan was so quick to draw from his experience,” she says. “He had an answer for everything.”
Though the competition is on pause for now, it’s not because she’s stepped away. “If I’m going to bring this project to life, I need to give it the time and attention it deserves. I’m busy wrapping up some other projects right now, so I’ve switched tracks, but I have not stopped. The train’s still moving; it’s just on a different route.”
In the meantime, she’s hosting industry information sessions livestreamed from Six Nations, ensuring local artists still get the tools and connections they need. “There’s so much talent and will in the community for something like this,” she says. “The question is, what if we get organized? Looking at organizations like the Indigenous Music Office shows us what’s possible.”
For January, Cultural Cadence is about more than personal growth. “I remember when programs like this didn’t exist. Artists were flailing, learning by stumbling through, with no one to say, ‘Here’s what I’ve learned, let me help you.’ These programs accelerate the growth of the Indigenous music industry. And we’re seeing the results every year—just look at the Polaris Music Prize list. More Indigenous acts are breaking through, and the will to integrate Indigenous music into mainstream and alternative spaces is real. Now we need to keep building on that.”
That means blending business know-how with creative freedom. “We need artists to understand the industry lingo and systems so they’re not leaving money on the table. That’s how they grow, gain exposure, and reinvest in their work.”
And on the creative side? January says Indigenous artists are freer than ever. “Look at Tanya Tagaq who doesn’t need to defend what she does. She is who she is. Indigenous creators aren’t feeling bogged down by tradition anymore. They’re fusing genres, breaking molds, and creating for themselves. And there will always be an audience for that honesty and artistry.”
Some of January’s most powerful moments in the program weren’t in structured sessions, but simply in connection.
“During Juno Week in Vancouver, we got to sit together, face to face. That kind of connection is invaluable. I was sitting there in awe, trying to play it cool, but really thinking, these people are amazing. The way they approach their work as creators, managers, and leaders—these are my people. Our circle is growing.”
Those connections, she says, bring energy and validation. “There’s no shame in economic growth. When we support each other with funding and resources, we’re honouring our dreams and plans. Programs like these validate our work and inspire us to keep going. And the generosity of knowledge-sharing in this community? That’s medicine.”
January Rogers’ story reflects a larger transformation in Indigenous music. With programs like Cultural Cadence, Indigenous artists no longer have to navigate alone, compromise who they are, or settle for making music that isn’t authentically Indigenous.
Instead, they’re building their own ecosystems where mentorship is reciprocal, community thrives, and music can be innovative, bold, and unapologetically Indigenous.
Find your mentor. Build your network. Bring your sound to life.
Learn more about Cultural Cadence and other programs here.