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Satrap was the name given to the governors of the provinces of the ancient Median and Achaemenid (Persian) Empires and in several of their successors, such as the Sassanid Empire and the Hellenistic empires.

The word satrap is also often used in modern literature to refer to world leaders or governors who are heavily influenced by larger world superpowers or hegemonies and act as their surrogates.^[1]

Etymology[link]

The word "satrap" has Avestan roots and is similar to the Sanskrit word Kṣatriya क्षत्रिय. The Old Persian xšaθrapāvan ("protector of the province"), from xšaθra ("realm" or "province") and pāvan ("protector"). In Greek, the word was rendered as σατράπης, satrápēs, and was romanized as satrapes, from the Old Persian xšaθrapā(van)). In modern Persian this would have naturally evolved to شهربان (shahrbān). "Sharbān", translated from modern Persian, literally means "town keeper"; (شهر "shahr", meaning "town", بان "bān" meaning "keeper"). The word is likely ultimately derived from ancient Indo-Persian.

Medo-Persian satraps[link]

The first large scale use of satrapies, or provinces, originates from the conception of the first Persian Empire under Cyrus the Great, beginning at around 530 BCE. However, Provincial organization originated during the Median era from at least 648 BCE.

Up to the time of the conquest of Media by Cyrus the Great, emperors ruled the conquered lands, through client kings and governors. The chief difference was that in Persian culture the concept of kingship was indivisible from divinity: divine authority validated the divine right of kings. The twenty satraps established by Cyrus were never kings, but viceroys ruling in the king's name, although in political reality many grabbed any chance to carve themselves an independent power base. Darius the Great gave the satrapies a definitive organization, increased their number to twenty-three and fixed their annual tribute (Behistun inscription).

The satrap was in charge of the land that he owned as an administrator, and found himself surrounded by an all-but-royal court; he collected the taxes, controlled the local officials and the subject tribes and cities, and was the supreme judge of the province before whose "chair" (Nehemiah 3:7) every civil and criminal case could be brought. He was responsible for the safety of the roads (cf. Xenophon), and had to put down brigands and rebels.

He was assisted by a council of Persians, to which also provincials were admitted; and was controlled by a royal secretary and by emissaries of the king, especially the "eye of the king" who made an annual inspection and exercised permanent control.

There were further checks on the power of each satrap: besides his secretarial scribe, his chief financial official (Old Persian ganzabara) and the general in charge of the regular army of his province and of the fortresses were independent of him and reported directly to the shah, periodically, in person. But the satrap was allowed to have troops in his own service.

• The great satrapies (provinces) were often divided into smaller districts, the governors of which were also called satraps and (by Greco-Roman authors) also hyparchs (actually Hyparkhos in Greek, 'vice-regents'). The distribution of the great satrapies was changed repeatedly, and often two of them were given to the same man.
• As the provinces were the result of consecutive conquests (the homeland had a special status, exempt from provincial tribute), both primary and sub-satrapies were often defined by former states and/or ethno-religious identity. One of the keys to the Achaemenid success (as with most enduring great empires) was their open attitude to the culture and religion of the conquered people, so the Persian culture was the one most affected as the Great King endeavoured to melt elements from all his subjects into a new imperial style, especially at his capital Persepolis.
• Whenever central authority in the empire weakened, the satrap often enjoyed practical independence, especially as it became customary to appoint him also as general-in-chief of the army district, contrary to the original rule. "When his office became hereditary, the threat to the central authority could not be ignored" (Olmstead). Rebellions of satraps became frequent from the middle of the 5th century. Darius I struggled with widespread rebellions in the satrapies, and under Artaxerxes II occasionally the greater part of Asia Minor and Syria was in open rebellion (Revolt of the Satraps).

The last great rebellions were put down by Artaxerxes III.

Hellenistic satraps[link]

The satrapic administration and title were retained—even for Greco-Macedonian incumbents—by Alexander the Great, who conquered the empire and even enlarged it, and by his successors, the diadochi (and their dynasties) who carved it up, especially in the Seleucid empire, where the satrap generally was designated as strategos; but their provinces were much smaller than under the Persians. They would ultimately be replaced by conquering empires, especially the Parthians.

Parthian and Sassanian satraps[link]

In the Parthian Empire, the king's power rested on the support of noble families who ruled large estates, and supplied soldiers and tribute to the king. City-states within the empire enjoyed a degree of self-government, and paid tribute to the king. Administration of the Sassanid Empire was considerably more centralized than that of the Parthian Empire; the semi-independent kingdoms and self-governing city states of the Parthian Empire was replaced with a system of "royal cities" which served as the seats of centrally appointed governors called shahrabs as well as the location of military garrisons. Shahrabs ruled both the city and the surrounding rural districts. Exceptionally, the East Roman Empire also adopted the title "satrap" for the semi-autonomous princes that governed one of its Armenian provinces, the Satrapiae.

Western satraps[link]

The Western Satraps or Kshatrapas (35-405 CE) were Saka rulers of a land called Ariaca according to the Periplus of the Erythraean Sea, in the western and central part of the Indian subcontinent, today the Saurashtra and Malwa regions of India. They were successors to the Indo-Scythians, and were contemporaneous with the Kushans who ruled the northern part of the subcontinent from the area of Mathura and were possibly their overlords, and with the Satavahana (Andhra) who ruled in central India.

Satraps today[link]

• By analogy, the word satrap is also used anachronistically for various governors, especially in the Orient, whose real title is etymologically independent, such as the shaknu and bel pihati in the earlier Assyrian (and consecutive [New] Babylonian?) empire, about the first empire of such size west of the Far East, which rather seems the model for the provincial concept.
• It is also used in modern times to refer (usually derogatorily) to the loyal subservient lieutenants or clients of some powerful figure (with equal imprecision also styled mogul, tycoon, or the like), in politics or business^{[citation needed]}.
• In the Spanish language the word sátrapa carries not only the aforementioned ancient historical meaning, but in modern usage it also applies to people who abuse power or authority. It can refer as well to those living in luxurious and ostentatious conditions or to individuals who act astutely and even disloyally.
• The title is also used by the College of 'Pataphysics as Transcendent Satrap for certain of its members, among which were counted such peoples as Marcel Duchamp, Jean Baudrillard and the Marx brothers.
• The word is used more and more to refer to places in West Africa that are dominated by France, or those in the Middle East/South America dominated by the United States.

See also[link]

• Suzerainty
• Orontid Dynasty
• Caliph

References[link]

• Ashley, James R. (2004) [First published 1998]. "Appendix H: Kings and Satraps". The Macedonian Empire: The Era of Warfare Under Philip II and Alexander the Great, 359–323 B.C.. Jefferson, NC: McFarland. pp. 385–391. ISBN 978-0-7864-1918-0. http://books.google.com/books?id=nTmXOFX-wioC&pg=PA385. 

Further reading[link]

• A. T. Olmstead, History of the Persian Empire, 1948.
• Pauly-Wissowa (comprehensive encyclopaedia on Antiquity; in German).
• Robert Dick Wilson. The Book of Daniel: A Discussion of the Historical Questions, 1917. Available on home.earthlink.net.
• Rüdiger Schmitt, "Der Titel 'Satrap'", in Studies Palmer ed. Meid (1976), 373–390.
•  This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. .
• Cormac McCarthy, All the Pretty Horses, 1992.

External links[link]

Look up satrap in Wiktionary, the free dictionary.

• Livius.org: Satraps and satrapies

v t e Provinces of the Achaemenid Empire (Behistun, Persepolis, Naqsh-e Rustam, Susa, Susa foundation charter, and Daiva inscriptions) Across the sea Akaufaka Arabia Arachosia Aria Armenia Assyria Babylonia Bactria Cappadocia Caria Chorasmia Dahae Drangiana 1t Egyptian Satrapy / 2nd Egyptian Satrapy Eber-Nari Elam Gandhara Gedrosia Hyrcania Ionia Indus Libya Maka Media Parthia Persia Quadia Saka Sardis Sattagydia Skudra Sogdia Yehud See also Districts of the Achaemenid Empire according to Herodotus

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Shahin Najafi شاهین نجفی
Background information
Born	(1980-09-10) September 10, 1980 (age 31) Bandar-e Anzali, Gilan Province, Iran
Origin	Bandar-e Anzali, Gilan Province, Iran
Genres	Iranian hip hop, political hip hop, alternative hip hop, Iranian rock
Occupations	Musician, singer, rapper, songwriter, social activist
Instruments	Singing, rapping, guitar
Years active	2000–present
Labels	Tapesh 2012 (2006–2008), Pamas-Verlag (2008–2009), Sharr Music (2010–present)
Associated acts	Antikarisma, Tapesh 2012, Rapknot, Ghogha, Ziba Shirazi, Ahmad Batebi
Website	www.shahinnajafimusic.com

Shahin Najafi (persian: شاهین نجفی) (born in 1980 in Bandar-e Anzali, Iran) is an Iranian musician, singer, rapper, songwriter, and social activist^[1] currently residing in Germany. He began his music career in Iran before immigrating to Germany in 2005. He has been referred to as being one of the forefronters in the Iran's modern hip hop scene by several experts and critics.

Najafi's songs mostly deal with issues such as theocracy, poverty, sexism, censorship, child labor, execution, drug addiction and homophobia. He strives to use poetic, literary, philosophical and political elements in his music.^[2][3]

Early life[link]

Shahin Najafi was born in 1980. in Bandar-e Anzali, Iran. When he was six years old his father died and later his brother became a drug addict and also died.^[4] He began writing poetry as a teenager and began learning the guitar in the classical and flamenco styles at the age of eighteen. He then became an underground artist in Iran, performing in both rock and Spanish music styles, working with various bands.^[2]

He studied sociology at the University of Gilan and openly expressed his opinions about the university, leading to him getting expelled.^[5]

Music career[link]

Immigration to Germany[link]

He was head of a underground music band in Iran before his immigration to Germany but he was banned for singing in Iran by the Iranian government after his second music show.^[5] He was also the head of «Inan» music band in Germany. Then he joined to «Tapesh 2012» music band.^[6] «Tapesh 2012» were welcomed by Persian broadcasters and the international media by political and social songs and poems of shahin najafi.^[7]

An article published in No. 19194 of conservative newspaper Kayhan on September 29, 2008, criticized the Tapesh 2012's activities. Kayhan published the article with the title of Establishing democracy with drum & circle. A part of it is as follows:

Release of first studio album[link]

On May 1, 2008 (coincided with May Day), Shahin Najafi released his first studio album, Ma mard nistim (We Are Not Men), with partnership and composition of Tapesh 2012 music band. This album was his official and professional beginning in Persian hip hop music. The album attracted the audience and listener more than any album before it was released in Persian hip hop style.^[9]

Separation from Tapesh 2012[link]

Shahin Najafi ended cooperation with the Tapesh 2012 music band from the beginning of 2009. Variety of reasons has been proposed related to his separation from this group. The main reason is releasing without permission "Around us" single song in Voice of America TV. The supervisor of «Tapesh 2012» later apologised to the Shahin Najafi and said: the song has been inadvertently released in Voice of America TV. Shahin Najafi has accepted the apology.^[10]

Reaction to the 2009 Iranian presidential election[link]

Shahin Najafi did not remain silent about Iranian election protests. He released a single named Neda in July 2009 dedicated to Neda Agha-Soltan.^[10] He released his second studio album titled Tavahhom (Illusion) on September 19, 2009 by German-Iranian publishing house "Pamas-Verlag". In this album several songs were about heavy protest to Iranian government and occurrence of Suppressed after the presidential election.^[11][12] Can be cited to "Vaghti khoda khabe (When God is sleeping)" through these songs. The threads of this song are protest to 2009 Iran poll protests trial, Militia violence, Torture of prisoners and Supreme Leader of Iran. Shahin Najafi tried in a part of the song to visualize the rape scene of Taraneh Mousavi in the minds of listeners.^[13]

Formation of Antikarisma music band[link]

He formed a new rock band as Antikarisma band in January 2010. The new band, Antikarisma, consists of Shahin Najafi, Babak Khazaei, Armin Mostaed, and Pejman Afshari who live in Germany. The new band is another demonstration of Najafi's continuous innovation in music.^[14][14]

Fatwas and death threats[link]

Following release of the song "Ay Naghi!" ("Hey, Naghi!") ^[15][16], Grand Ayatollah Lotfollah Safi Golpaygani, a Shi’ite cleric based in Qom, issued a fatwa death sentence against Najafi for apostasy.^[17] Grand Ayatollah Naser Makarem-Shirazi, a "sources of emulation" for many Shia Muslims, also issued a fatwa declaring Najafi guilty of apostasy.^[18] As of 15 May 2012, more than 800 people in Iran had joined a Facebook campaign calling for Najafi to be executed, saying they were ready to assassinate Najafi if necessary.^[19] An Iranian web site, Shia-Online.ir, offered a $100,000 bounty to anyone who killed Najafi.^[20]

In May 2012, the online site HonareNab.ir posted an online "Shoot the Apostates" flash computer game inviting people to shoot and kill Najafi.^[21]

On 25 May 2012, Shiite cleric Ahmad Alamolhoda demanded a plan to execute the Najafi.^[22]

The song has drawn sharp anger from protesters who believe it is offensive towards Imam Naghi, the tenth Imam in Shi’ite Islam.^[23] In an interview^[24] Najafi stated that he was inspired by "The Campaign to Remind Imam Naghi to Shiites" to compose the song. The campaign is a Facebook page that pokes fun at Islamic, and specifically Shi'ite hadiths, with members creating fake, funny hadiths and stories centered around a fictional character named Naghi, who is based on Imam Naghi.^[25]

Political and social activities[link]

In addition to individual work in his concerts and campaign songs, Shahin Najafi had many performance on various political and social occasions. In October 2008, he had a music show on "Peace Conference" in Germany.^[26] In August 2009, with some poets and writers in shows of ""Night of solidarity with the liberal struggle"" Najafi had a protest hip hop show in Stockholm, Sweden.^[27] In December 2009, coincided with "Student Day" in Iran, Najafi with Ziba Shirazi had a protest music show in Georgetown University, Washington, D.C.^[28] He also published an article in his official blog announcing: "I won't cut my hair until the time of freedom establishment in Iran."^[28]

Discography[link]

Collaboration albums[link]

Studio albums[link]

References[link]

External links[link]

• Official website
• Shahin Najafi & Majid Kazemi - "Naghi," with English translation on YouTube
• Bamdad Khabar Interview
• An Article from Radio Farda
• Music Festival Bochum and implementation of Tapesh 2012