This method is based on a simple observation: we all carry within us a multiple, rich personality—often stifled by restrictive social patterns.
Our environment locks us into fixed postures, deprives us of bodily freedom, and traps us in “false beliefs” about our ability to move, create, and feel.
The result? An innate creativity often inhibited.

Yet everyone knows how to dance.
Everyone possesses a unique, organic way of moving—with meaning and imagination.
Even for experienced dancers, freeing oneself from automatism and reaching full creative potential can be challenging.

It was through numerous projects with dancers from very diverse backgrounds that I centered my research on the singularity of the dancer.
I began with myself, seeking to create a personal movement vocabulary—an inner-born choreographic writing.

Each performance thus became a pretext to develop a personal choreographic signature and to bring forth “choreographic mutants”: transformed, reinvented bodies, where another self can emerge.

OKUS FOKUS is a method designed to bring out the phantasmagoric characters hidden behind every performer.
It has been tested and deployed with professional dancers, amateurs, non-dancers, children, incarcerated individuals…
Each one found a unique gateway to their potential.

As a former researcher in genetics and biochemistry, I naturally transposed certain analytical reflexes into my artistic practice:
I perceive the dancing body as a modifiable organism—a living system capable of integrating choreographic mutations.

Everything took shape with two dancers from the world of high-level Bboying.
One of them, despite his virtuosity, contacted me to explore a freer, more sensitive, more creative movement style.
We didn’t speak the same bodily language—and it was this gap that sparked everything.
By sitting down, by observing, I let emerge what would become the OKUS FOKUS formula.

OKUS FOKUS offers an approach where bodily identity, visual focus, and inner transformation are at the heart of the process.
It invites everyone—dancer or not—to explore their deep resources, awaken their buried gestures, and recompose their imagination through movement.

Inspired by urban dance forms, the notion of expanded states of consciousness, Jungian psychology, and imbued with a scientific logic tinged with magic,
this method weaves together structure, instinct, and sensory exploration.

This method is primarily based on the focus of the gaze within the movement, a trigger for bodily transformation.

OKUS FOKUS is rooted in a deep sense of personal development:
to bring forth, through the body, the richness and complexity of the individual.

Emmanuel Di Martino