Identity work in organizations is a main concern on research focuses. However, little is known about how artists ensemble in organizational creation manage identity work. The organizational creation in music ensemble is relative to entrepreneurial process. Our aims are to explore how to balance multiple individual and plural identities to shape the organizational one in creation of musical female ensembles and also to understand the role of the support of consultancy musical specialist in the process.

Theoretical background: Identity and identity work in artistic female entrepreneurial ensemble.

According to Scherdin & Zander (2001) similar identity traits exist between artists and entrepreneurs. Authors are in the line with the work of Menger who define several attributes attached to self-employed artists. There have entrepreneurial traits as "sense of personal achievement, high level of self-discipline to exercise their art, commitment into work, independence spirit, and great tolerance for high risk" (Menger, 1999). However, the systematic rapprochement between the figure of the artist and the entrepreneur may be problematic (Martin & all., 2021). It appears clearly in the seminal work of Chiapello “artist versus Managers” (1998).
According to Martin & all. the artist's work is made up of tropisms-tensions, translate into motivation to create made of enabling aspirations that can be thwarted by the challenge of reality (Martin & all. 2021). The challenge of reality is imposed by the tow prescription worlds: the economical one with the injunction to find subsidies, and the artistical one, world of creation. These shapes identities of the artistes-entrepreneurs. Their identities are based on inter-prescription, and self-prescription of the artists (14 items) create paradoxical injunctions (figure 1).
For them, identity is an integral part of the prescription of the artist's work and is intimately linked to development of his artistic approach. “By responding to the demands of the market, the artist would adopt a posture other than his own which would compromise identity and, in addition, one of his most determining prescriptions, selfhood (Martin & all., 2021). Also, they link identity to temporal conflicts of the short terms’ entrepreneurs and long-time necessity of creation. But creative industries come to accept proposition that artistic and managerial competences can co-exist effectively in the same individual. Creative production requires a close alignment of all goals for one product (alignment ambidexterity) and a constant pursuit of new creativity over time (adaptability ambidexterity) (Lampel & Germain, 2016). For them (citing Bhansing, Leenders, & Wijnberg, 2012), “Performing arts organizations use a dual leadership structure to achieve multiple organizational objectives, and they design the organization to mitigate possible conflicts between people” of the art organization (in our research the music ensemble).
The individual identities could be in tension to create the organizational identity. These researches are the basis of our questions on the balance between individual identities and co-construction of identity leading to the organizational identity of musical ensembles. This leads us to question: what are the identity dynamics allowing stabilization of organizational identity? To answer, first, our literature review will (1) seek to clarify analysis around work on individual, organizational identity and identity work. Then, we will pursue to see (2) how notions are approached in view of specific characteristics of female artist ensemble: their identity as entrepreneurs, female versus male entrepreneurs’ specificities, specificity of artist entrepreneur’s identity, and then place of the feminine gender for artist entrepreneurs.

Methodology.
We run in deep case studies linked to music consulting organization that was founded in 2019 on initiative of a doctor woman specialist of performing art. It is a consulting organization specializing in classical music for musicians, project managers and all professionals in the sector (operas, ensembles...) that work on strategic studies, project engineering and training to acquire entrepreneurial skills now mandatory by the sector. We undertake qualitative exploratory case studies. in an interpretative logic: anthropologic methods help us to grab inside views of the systems at the individual and collective level. Following Langley & al. (2020), we adopt a processual ontology of identity work: we run semi-structured interviews with several entrepreneur women artists and music consultant, so as to understand their respective views on their identity. Following advice of Brown (2017) we examine identity work composition trough five multiple complementary approaches’: discursive, dramaturgical, symbolic, socio-cognitive, and psycho-dynamic. Data used comprised numerous sources. We follow two ensembles during exchange with the consultancy support training to double level of identity work. (figure 2).
The first level help to understand how multiple identity deals thanks four actions: competition, coexistence, integration, helicoidal (inferential process) of identities. After individual identity work is done for these 3 identities, comes analyze of second level: organizational one. This level of identity work to understand what kind of first level identity work is manage to balance influence of each musician identity, and how consultant could be identity mediator to stabilized organizational identity. Our interviews involved a series of open-ended questions based on our theoretical framework.

Main findings.
Our research enlightens: 1) the balance between each individual artist multiple identities to shape the organizational identity through identity work; 2) the place of music consultant in roles' tensions regulation to adjust the identities and identity work going to organizational identity. 3) Our research finally cross-fertilizes literatures about artistic entrepreneurial, female gender and organizational identity work.

References
Baumol, W., Bowen, W. 1968. Performing Arts, The Economic Dilemma. Cambridge, The M.I.T. Press.
Brown, AD 2017, 'Identity Work and Organizational Identification', International Journal of Management Reviews, vol. 19, no. 3, pp. 296-317.
Chiapello, E. 1998. Artistes versus managers : le management culturel face à la critique artiste. Paris: Seuil.
Jennings, J. E., & Brush, C. G. (2013). Research on women entrepreneurs: challenges to (and from) the broader entrepreneurship literature? The Academy of Management Annals, 7(1), 663-715.
Martin, A, Saives A-L, Camus A. (2021) « Chapitre 2. Le travail de l’artiste : comprendre la self- prescription et ses tensions dans un univers managérialisé. Cas d’artistes en art visuel à Montréal », Isabelle Horvath éd., EMS Editions, pp. 32-45.
Lampel, J., & Germain, O. (2016). Creative industries as hubs of new organizational and business practices. Journal of Business Research, 69(7), 2327-2333.
Lewis, K. V. (2021). ‘In the night kitchen’: Gender, identity and artisanal work. International Small Business Journal, 39(7), 662-680.
Menger, P. M. (1999). Artistic labor markets and careers. Annual review of sociology, 25(1), 541-574.
Wu, Y., & Wu, S. (2016). Managing ambidexterity in creative industries: A survey. Journal of Business Research, 69(7), 2388-2396.