“I just played City Splash [festival],” he says eagerly, reflecting on his performance 24 hours ago. “It’s about 30,000 people there. I played the small stage, but you feel that collective energy, it’s crazy.” After inheriting the prolific London-based sound system Jah Youth from his late father, Allan Rolle, the 44-year-old is eager to preserve its legacy. Dedicated to roots reggae since its 1975 debut, the sound system has been entertaining intergenerational West Indians and Brits for over 50 years. “My father was a very inspirational person in and around the community,” Lion states. Using his compensation for an injury whilst serving as West Ham United’s U21’s league goalkeeper, Allan Rolle inspired Lion throughout his childhood, his ear for music expanding because of his father's pivot. “He even opened a record store in Upton Park,” Lion shares. “Because I looked so much like my father, musicians would stop me asking about it, my father, and the music in there.” Being of Dominican and Vincentian descent, Tau Lion was nourished by the strong, post-Windrush generation of West Indians who sought communal connection, collaboration, and celebration, Rolle’s ventures becoming integral to this collective yearning. “Both the record store and sound system became community hubs; it really gave my upbringing some excitement.” Jah Youth wasn’t just a success nationally, carrying on a legacy of sound systems in the country since 1955, but it made inroads into the wider Black diaspora, Lion gaining first-hand experience on tour, as the sound system made its way to various countries in Africa. “Suddenly, in 1990, we got to tour with the full sound system, we went to Kenya, Tanzania, and Zimbabwe,” Lion explains. Joined by the prolific band Misty in Roots, in Zimbabwe, Jah Youth supported a segment of their East African tour, aligning with the political message of Pan-Africanism. Here, Tau Lion was exposed to a bird's-eye view of politics and music's inherent overlap. “At that time, Misty In Roots were eager to extend their message out there, because apartheid was still an active situation.” With songs such as “Ghetto In The City” and their advocacy of the 1976  Rock Against Racism movement, Misty In Roots weren’t shy in using music as a vehicle for social change. “It was inspiring to see something like that up close and personal,” Lion notes. Grateful for the experience, he says the tour served as an important catalyst for his inter-communal efforts as an adult. After moving to Sierra Leone in 1991, Lion and his family were forced to return to London when civil war broke out. “I remember thrusting all we had into the back of the car one morning,” he recalls. “I couldn’t go back for some of the things.” Making it back to the UK safely, he would finish his final year of primary school before spending his secondary school years and college life, toying with the idea of returning to Africa. “I finally told my dad about it, but he wanted me to finish my education first.” Towards his late adolescence, however, he’d get the call, again via his father’s record store, to explore a new medium. “A jeweller, Gully used to shop at my dad’s store,” Lion explains. “When I was 19, he asked for my help. His jewelry brand was called Gullcano, so I jumped at the chance to dive into something new.” Focused on luxury chains and bracelets made in styles such as Cuban links, Tau Lion dived into the experience wholeheartedly, eager to gain a first-hand skillset.Quickly getting on with Gully, Lion would spend his free time assembling the jewellery. Formalising his knowledge academically, he later enrolled in college and university to study the art form, still working with Gullcano in the background. “I actually dropped out of university before final year, as I wanted the knowledge, not a formal academic paper,” he laughs. Eventually finding his way back to Africa, Lion purchased a house in Tanzania, with his father's backing and support, attempting to build a jewellery imprint of his own, dubbed Made In Africa. Expanding into beaded jewellery with local assemblers, Inter noticed a gap in knowledge on the ground. “There are transferable skills that I wanted to give people, helping them to expand,” Lion shares. Now, he goes back each September to run workshops, maintaining ties with his Tanzanian community. Tau Lion is bringing his expertise to Patta for a brand new jewellery collaboration set to showcase his years of work and practice to a new cohort of cultural enthusiasts. “My designs are inspired by ancient architecture and geometric design,” he begins, deep in thought. “For example, one of my links is inspired by stars, the other, planets, and the third, interconnected universes.” Deciding to focus on sets for both men and women, the bracelets crafted can be paired as a necklace. For Lion, the concept for the collection is tailored to the community, allowing for braces to be worn as individual pieces or assembled for multiple family members or friends. “Three [individual] bracelets will be able to assemble a standard male-sized chain, and two will be big enough for a woman,” Lion explains. Using the analogy of a father, he expresses that a necklace could become an heirloom for his child as they grow up. “It’s about keepsakes and legacy.” Made from sterling silver, Lion wanted an ethical, widely accessible material for the inaugural release, but also one that’s ideal for being worn in event spaces. Lion notes that some people believe sterling silver helps ground the body in high bass environments. “That’s where the connection between the sound systems and my focus now on jewellery collide too,” he continues.Mindful not just of this collection, but also what lies ahead, Tau Lion’s mission across sound and design is simple. For him, cultural preservation is key. “I’m just excited to carry on the legacy my father carried so strongly,” he says. “And creating and preserving my own at the same time.”Patta Magazine Volume 7 available soon

Words by Chris DanforthChicago’s Anthony Gallery is taking its distinctive curatorial vision across the Atlantic with the opening of a new space in Amsterdam. Founded by Isimeme “Easy” Otabor in 2019, Anthony Gallery is known for pairing buzzing and established artists, fostering cross-cultural dialogue, and reflecting Otabor’s personal perspective. Now, Amsterdam has become its second home. More than a gallery, the Amsterdam location aims to be a cultural hub, integrating music, design, and community engagement while connecting local and international artists. Otabor emphasizes that the gallery’s goal is to foster dialogue with Amsterdam’s creative ecosystem, not impose an outside voice. The launch features a collaborative exhibition by Tony Lewis, whose observational drawings capture human connection, paired with cocktails inspired by his work. Looking ahead to 2026, the gallery will host solo and group exhibitions blending local talent with global voices, creating a space that is both globally connected and locally rooted.  Below, Patta Magazine chats with two of the minds behind the project, Easy Otabor, and supporting the project from Amsterdam multidisciplinary agency Tree Filling Window, Erum Shah.How did the relationship form between Chicago and Amsterdam?Erum Shah: I’ve worked with Easy for years, including on Tom Sachs projects. Easy has been thinking about expanding Anthony Gallery to Europe, and Amsterdam felt natural. Both cities are local yet global, with strong communities and a commitment to craft. Amsterdam, like Chicago, brings together music, design, and art in a way that aligns with Anthony Gallery’s values.Easy Otabor: Amsterdam has long been a crossroads for art and ideas — a place where conversations can take root. There’s a growing energy here around contemporary art, and we wanted to be part of that momentum while also creating a bridge between European and American audiences. You’re launching with Tony Lewis, tell us how that lined up.Erum Shah: We wanted a celebratory launch before the program officially kicks off in 2026. Easy has a long-standing relationship with artist Tony Lewis, whose drawings capture hospitality and human connection. He sketches in bars, observing people and spaces, which reflects the spirit of the gallery. The launch exhibition felt like a natural way to bring Amsterdam together while connecting US and European perspectives. Tony also plans to create cocktails to pair with his drawings, creating an interactive and authentic experience.Easy Otabor: We’ve admired Tony’s practice for years. His ability to use language to address questions of identity and communication feels incredibly relevant right now. When the opportunity arose to collaborate on a new body of work, the timing felt right for it to anchor our opening. It sets the tone for the kind of dialogue we want the gallery to fosterWhen you select artists to work with, what do you keep in mind?Erum Shah: Easy pairs new voices with established ones, challenging what fine art can be. He prioritizes cultural crossover and, as a Chicago-born gallerist, includes many Black artists. His roster is distinctive because he creates dialogues between emerging and established artists, for example, pairing an emerging painter with someone like George Condo in a group show.Easy Otabor: We want to continue to keep working with great artists, but more importantly, great people.What role do you see the gallery playing in Amsterdam’s community?Erum Shah: The gallery’s responsibility is to add to the existing cultural ecosystem. We chose Amsterdam because its values - intersection of music, design, art, and local brand culture - align naturally with his vision. The goal is not to impose an international voice but to bring Amsterdam into conversation, pairing local voices with artists from Easy’s global network, including the US, Tokyo, and the African diaspora.Easy Otabor: We hope to contribute to the ecosystem and culture. That means engaging with artists, curators, and institutions already here, while bringing new voices into the mix. Our goal is to build a space that’s both globally connected and locally grounded—a place for exchange, experimentation, and discovery.What’s planned for 2026?Easy Otabor: We have an exciting slate of exhibitions that build on this year’s conversations, some returning collaborators and some new names we’re thrilled to introduce. Beyond the program itself, 2026 will be about deepening relationships: with artists, collectors, and the communities around both galleries. We’re focused on long-term growth, not just expansion.Are there other ways the gallery will engage with the community?Erum Shah: We want to redefine what a gallery can be. It will host talks and conversations across culture, curated exhibitions, and events that create community engagement. We’re exploring partnerships with local establishments and other sectors like hospitality and food, so the gallery feels integrated with Amsterdam’s culture. Opening nights and ongoing events should encourage dialogue, participation, and a deeper connection to the city.

Hairstyling by Yara Forster | Photography by Andrea AmponsahYara Forster is a hair artist using Black hair as her medium. She is known for her sharp, sculptural signature. Cornrows, afro shapes, and custom hairpieces define her work, each a statement on its own. Narrative-driven, her practice spans editorials, campaigns, runway shows, music videos, and theatre, always making hair part of the story rather than decoration.Growing up in the late ’90s and early ’00s, she was constantly working with her own hair, studying it, figuring it out. The styles she saw in the Bijlmer, combined with pop culture from music videos and magazines, shaped her eye and foundation.Her work has gained international recognition, appearing in leading publications including Vogue, Elle, and Harper’s Bazaar, as well as institutional exhibitions such as Voices of Fashion at the Centraal Museum Utrecht. In 2022, Yara won Best Hairstyling in a Fashion Film at the London Fashion Film Festival. In 2024, she presented Welcome To The Kingdom at OSCAM, her first solo exhibition.What began as an inner urge is now a daily practice. Yara works with focus and intent, using Black hair as a language. For this issue, she created a series of looks celebrating the art of Black hair.Braided Updo In the 2000s, updos became louder and more glamorous, more volume, spiky ends, and playful shapes. Rhinestones, clips, glitter, and creative edges added extra flair, while swooped side pieces and braids were often incorporated. This look reimagines that era with a modern, sculptural approach, combining braids and form in a bold statement. Natural Hair Texture This look is a tribute to the unique structure of Black hair. Yara reflects, “My own hair taught me to explore its possibilities. In my family, I had no direct reference for my tighter, denser curls, so I had to figure out how to care for and style it myself.” This style celebrates natural textures while incorporating braiding. Freestyle Braids“This was my favourite braid style growing up,” Yara says. Freestyle braids allowed her clients to fully trust her creativity, resulting in unique combinations of patterns, forms, and sometimes even words. This look merges different braided shapes and structures, showing a playful approach to hair as art. Ala Kondre BraidsInspired by the traditional Surinamese Ala Kondre Chain, this look translates the chain’s links, charms, and beads, each with its own meaning, into hair. Various braid techniques, patterns, and textures combine to form a cohesive whole. The look celebrates Yara’s Surinamese heritage and the unity of diverse influences and techniques. Every braid pattern carries a story, making the hair both a visual and symbolic tribute to her hair journey.Archive images of Yara Forster's work Photographer: Fred EldarPhotography: Ines Vansteenkiste-Muylle