Zebda, a musical group from Toulouse, appeared during the 1980s. Closely linked to a local voluntaryorganisation, it includes French citizens of foreign descent, whose families migrated to the Midi-Pyrénées region from the Maghreb, but also from Italy and Spain. Zebda became famous in the 1990sas a “mixed band” playing “hybrid” music. This dissertation begins by analysing the conditions inwhich the band emerged and its relationships with the movement of the Marches pour l’égalité in the1980s, and with a militant organisation that will eventually become Tactikollectif in the 1990s. Then itshows that Zebda can be defined as a “musical tool”, which allows answering the question: How doesZebda’s music question the foundations of French society? That is, conceptions of citizenship andconditions for living together in harmony.

Le groupe de musique Zebda est nĂ© d’une aventure associative pendant les annĂ©es 1980 Ă  Toulouse.ComposĂ© de français issus de l’immigration maghrĂ©bine postcoloniale et des immigrations espagnoleset italiennes du dĂ©but du XXème siècle en rĂ©gion Midi-PyrĂ©nĂ©es, Zebda connaĂ®t un certain succès enFrance pendant les annĂ©es 1990. En revenant sur l’histoire de la crĂ©ation du groupe, liĂ©e notamment aumouvement des marches pour l’égalitĂ© des annĂ©es 1980 et Ă  une aventure associative et militante quiaboutira Ă  la crĂ©ation du Tactikollectif dans les annĂ©es 1990, cette thèse cherche Ă  comprendre etcaractĂ©riser l’outil musical Zebda. La problĂ©matique de recherche est la suivante : en quoi la musiquedu groupe Zebda permet-elle de questionner les fondements de la sociĂ©tĂ© française : son processus decitoyennetĂ© comme son vivre ensemble ?