Katarina: Zimbabwe’s Pioneering Female Performer

“Iri kubata getsi? Ko urikuti ndatamba here? Handina, bheka yandiri kuda kukutambira ikozvino, ndoda kukusiya uri weak, uri weak!”

Tila, tila, tila, tila,
tila, tila, tila, tila,
tila, tila, tila, tila,
tila, tila, tila, tilaaaaaaaa!

These lines from the iconic song “Ndakakupihwa Wakadayi” are among the most memorable words spoken by the legendary Katarina. Elizabeth Taderera, known to many as Katarina, was a Taderera by birth and sister to the renowned broadcaster Admire Taderera. She is celebrated as arguably the best female performer Zimbabwe has ever produced. While many female artists have emerged and disappeared, none have managed to reach the high standards set by Katarina.

By Marshall Shonhai

Interestingly, Katarina did not have her own band but gained fame as a member of the late Safirio Mukadota Madzikatire’s Sea Cottage Sisters. Her journey to stardom began in 1977 when Mukadota discovered her in Mutare, and she became an integral part of his ensemble from then on.

In the world of showbiz, sex symbols are common, and Katarina stands as the epitome of Zimbabwean showbiz sex symbols. Her charisma captivated audiences of all ages and genders. I vividly remember watching her perform alongside Mukadota, Machipisa, and Chibhodhori when I was a young boy. That performance at Glen View Chemhanza Stadium during an afternoon family show left an indelible mark on my memory.

Katarina’s beauty was accentuated by her ever-present infectious smile and signature red lipstick. Despite her petite stature, she commanded the stage with effortless grace. She was the original “yellow bone” with an unparalleled stage presence. Katarina’s versatility in singing, dancing, and acting made her an essential part of Mukadota’s act, a quality sorely missing in today’s showbiz, where performances often lack the depth and engagement she brought to the stage.

Despite her fame, Katarina remained loyal to Mukadota, with whom she had developed remarkable stage chemistry. She briefly left to join Cde Chinx’s Mazana Movement but never pursued a solo career, a path she might have taken if she were active today. Her loyalty underscores an important lesson for many artists: not everyone is destined to be the star; some shine brightest as part of a team. Mukadota’s success was undoubtedly enhanced by Katarina’s contributions, and he recognized this, dedicating entire songs to her.

Long before the internet and social media the late Katarina was defying many societal dictates and prejudices to give electric performances. Her stage outfits were outstandingly colorful, complemented by her fancy hairdo, wigs and make-up styles.”

Unfortunately, like much of Zimbabwe’s rich musical heritage, information about Katarina is scarce, with even basic details like her birth and death dates hard to find. In my work on a project exploring our music history, I’ve discovered just how little has been done to document this vibrant cultural legacy. Addressing this gap is urgent and something my colleagues and I are actively pursuing.

Tragically, Katarina, like many Zimbabwean artists, died in obscurity, working as a waitress after her fame faded. Yet, her legacy endures, and it is clear that the history of Zimbabwean showbiz would be incomplete without mentioning Katarina’s name.