Depuis les années 2000, des clusters culturels, ou grappes d'entreprises du secteur culturel,se développent sur les territoires des métropoles et grandes villes françaises. Parallèlement,ces territoires urbains se transforment, s'aménagent, se construisent, tant dans le cadre depolitiques de renouvellement urbain que de projets de quartiers culturels créatifs. Cette thèsepose l'hypothèse que la rencontre de ces deux types de phénomènes, notamment si elle faitl'objet d'un pilotage dominé par les institutions locales, constitue majoritairement uneressource pour le développement territorial et la valorisation des espaces urbains, au dépensde la structuration des acteurs culturels. Sur la base de données de terrain issues d'entretienset d'un corpus de publications et supports de communication, huit clusters musicaux françaisont été observés dans leur contexte territorial et politique local. Les pratiques, stratégies etmodes d'organisation des acteurs mis en situation d'inter-dépendance via ces clustersconstituent un faisceau d'hétérogénéités que les équipes des clusters ne parviennent quedifficilement à mettre en concordance.Trois idéaux-types des conditions d'émergence de ces clusters culturels sont proposés. Ilsposent les différentes représentations de ces dispositifs que développent les entrepreneurs,les acteurs publics et les acteurs locaux. / Since the 2000's, many cultural clusters have emerged and have been developped in Frenchcities and urban areas. At the same time, these local territories have been physically andsymbolically re-shaped, re-configured, through social development or creative cities policies.The statement of this thesis is that the encounter of these two phenomena, especially whenthey are dominated by local institutions, mostly enhances territorial development andvalorization, at the expense of cultural workers' economic structuration. Eight Frenchmusical clusters have been studied in relation with their own local political context. Practices,strategies and modalities of the organization of the inter-dependent actors of these clustersare constitutive of a range of material and symbolic heterogeneities that clusters' teamshardly manage to match.We propose three ideal types related to the emergence of such cultural clusters. Each of themspecifies the representations of the cluster that cultural entrepreneurs, politics and localsconjure up.

This thesis examines the marketing of Malmö’s kulturljudzon (cultural sound zone) in the context of recent neoliberal planning practices in the city, with a focus on how the experiences of do-it-yourself (DIY) cultural actors compare to the kulturljudzon’s promotion and how they navigate relationships with municipal and economic representatives. Culture’s heightened role in current urban planning processes globally has transformed how participants in the cultural scenes of cities experience their environments, making it necessary to understand the ways that this has occurred in Malmö. Two qualitative methods, a functional documentary analysis of public texts about the kulturljudzon and a thematic qualitative text analysis of interviews with cultural actors, a property owner, and municipal employees are utilized to explore the manner in which the kulturljudzon has been marketed, how this marketing compares and differs to perspectives found within Malmö’s music scene, and the lived realities of DIY musicians and organizers in connection to the kulturljudzon. The analysis has revealed that the kulturljudzon has been presented as being a result of collaborative, participatory, and bottom-up planning processes, at times where culture and business are said to have shared interests, and promoted as a means for the city to grow its attractiveness. Additionally, once interviews were incorporated, DIY cultural actors expressed their limitations in the kulturljudzon, such as the pressure to produce profit from their work, their difficulties in finding and keeping rental spaces, and the feeling that the municipality cared about the symbolism of the kulturljudzon and what it meant for the city’s economy more than the substance of the culture within it. Interviews with a property owner and municipal employees deepened this discussion by providing insight as to the roles that different types of values play in their decision-making, their relationships to culture and cultural actors, and their goals for the kulturljudzon, its surrounding neighborhood, and Malmö as a whole. The data revealed sharp differences in power and alignments of stakeholders in this area, with the municipality and property manager combining their interests more readily than either were able to align with the cultural actors interviewed. The results of this study have implications for future research that prioritizes perspectives from urban DIY music scene members and cultural actors in understanding urban transformations, as this research can highlight shortcomings and misguidedness in planning processes. Further, this study exemplifies a need for planning officials to educate themselves on DIY cultural practices if they wish to create truly informed and participatory policies that promote all levels of cultural production and expression in their cities.