The heroic ballad of Kajango is a story about love. But its plot intersects love's trajectory after eight or ten years of marriage, when the issue of property has emerged, like a child, to become part of the relationship. The bard Muzee elaborates this issue with his characteristically tight thematic coherence, in ways that are by turns humorous, heroic, mysterious, and grotesque, but always humanely focused on the domestic pair. Property, obligation, and debt are the underlying thematic stratum in this natural and supernatural narrative of domestic love, from its opening burst of poetic images, to its parry-and-thrust of domestic bickering, to its heroic journeys, to its final reconciliation in forbearance and self-restraint.

At a symbolic level, the figure of eating — and especially of not eating — is used to talk about relationships both of love and of material exchange, as in the heroine's lament:

Rather than eat of love,
Eat something bitter from a spirit;
You promise [the spirit], and in a growing-season settle the debt.
But the debt of wondrous has never been settled by human kind.
(lines 293–295.1)

The variety of experience this suggests — things that are bitter and those that are sweet, obligations that can be settled and those that cannot, reciprocity with spirits and its impossibility between lovers — informs and deepens the significance of Kajango's action.

This version of Kajango was recorded in the evening on August 21, 1969, in the grass-thatched house (msonge) belonging to Dionies Lutabanzibwa in the village of Katome. There were two or three dozen people present, some of whom sat outside and listened through the wall.