Hungama Hai Kyon Barpa (Why is the chaos growing?)


It’s different though, that I’m in a stupor now…
Otherwise, I am anything but the one betraying.
Your “intoxicated eyes” would be regarded as wow…
Even if aware, I would pretend to be slumbering.
(Not a part of an original poem, but this one is often included in musical renditions as an ice-breaker).

Why is the chaos growing,
if few sips have been taken?
Haven’t committed any robbery
nor have indulged in stealing…

That drink deserves no concern,
which doesn’t tune with the heartbeat.
Submission is for the one special,
that conquers the pulses from within.

These are merely the reactions
of the preachers inexperienced.
What would they know of these colors?
Ask: “Have they ever been into drinking?”

At that end – an intent to bestow suffering,
At this end – a will to be most bearing.
That has a system of desires,
this too has its set of wishes.
(Though a part of an original poem, this one is often not included in musical renditions).

When the sun earns a blemish,
it’s on marvels of the nature.
When idols call me a pagan,
“Destiny it is” – not free will…

Each atom sparkles
from the radiance of the unity…
Each breath confesses,
“If we exist, so does the mystery”.

– Dedicated to those who step outside the boundary to experience the ecstasy, only to realize that there’s no boundary but only the illusion of one and that the source of ecstasy isn’t outside but within.

[Disclaimer: It’s a liberal translation/ interpretation as usual. Often trying to elevate the primary context of the poem.]

The original poem is widely popular as “Hungama Hai Kyon Barpa“, the lyrics are penned by: Akbar Allahbadi.

Ye alag baat hai saaqi ke mujhe hosh nahin,
warna main kuch bhi huun ehsan-faramosh nahin.
Mai-n teri mast nigahi ka bharam rakh lunga
Hosh aya bhi to kah dunga mujhe hosh nahin.

Hungama Hai Kyon Barpa, Thodi Si Jo Pii Lii Hai
Daakaa Toh Nahin Daalaa Chori Toh Nahi Kii Hai
Us Mai Se Nahi Matlab, Dil Jis se Hai Begaanaa
Maqasudd Hai Us Mai Se Dil Hii Mein Jo Khinchati Hai
Naa Tajurbakaari Se Vaais Kii Ye Baatein Hai
Is Rang Ko Kyaa Jaane Puchho Toh Kabhi Pii Hai
Vaa Dil Mein Ki Sadame Do, Yaa Kee Mein Ke Sab Sah Lo
Unkaa Bhi Ajab Dil Hai Mera Bhi Ajab Jii Hai
Suraj Mein Lage Dhabba Fitrat ke Karishme hain
But Hum ko Kahein Kaafir Allah Ki Marzi Hai
Har Zarra Chamaktaa Hai Anwaar-e-Ilaahi Se
Har Saans Ye Kehati Hai Hum Hai To Khuda Bhi Hai

This one is sung by both Ghazal maestros Mehdi Hassan and Ghulam Ali, the later one made it popular with his unique style.

One of Ghulam Ali saheb’s live performance versions (watch out for his gimmicks and heed his deliberate deviations, they make the rendition more sensual… He’s so endearing you might end up wishing as I do, that if there’s ever access to a time machine, this is one of the times to jump to… to be in that period of grace, simplicity, innocence and this live performance.)

Renditions by other singers:

Amanat Ali –
Vishal Joshi –

Other Translations:
There have been attempts by others to translate/ interpret the poem. Two that I find most interesting and relevant are the following.

Note: In my process, I find it better to discover alternate translations after getting through the first drafts of my own interpretation – this is to have as least influence as possible, in order to maintain the originality of the piece.


9 thoughts on “Hungama Hai Kyon Barpa (Why is the chaos growing?)

  1. The results are PERFECT indeed! : )
    ‘Submission is for the one special,
    that conquers the pulses from with-in.’
    I especially love the last two stanzas of ‘Hungam Kyun Hae Barpa’, and also enjoyed the other translation linked.. Haven’t heard Amanat Ali or Vishal’s versions of this, but I think I will soon! 🙂

    • This poem is a masterpiece from every perspective.
      I don’t know but somehow it’s so dear to me and I’m so obsessed that I’m unable to pick the best part of it… This too took thrice much the time than the usual for me to interpret all the layers to ready it for a sincere adaptation.

      Most marvelous thing about it is, that it rings the bells on so many levels – pretexts and contexts… and then to top it, Ghulam Ali saheb’s intricacies. Did you notice his deliberate breaks and stretches? Those insertions of raag and murkhis…?

      Vishal and Amanat’s version are good, but one I personally cherish other than Ghulam Ali saheb’s version is Jayant Singh’s performance (13 year kid in ASVOI Chhote Ustad). As unbelievable as it sounds, he’s the only one who’s same magic as a maestro himself… kid literally succeeds in giving the goosebumps and sending the shivers down spine. Alas, what he sings is part of his performance for contest, hence a very limited rendition. Check it (must) if you have an access to Youtube. (Because I didn’t find it anywhere else…:( )

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