“The Origin of the World” may be the starting point for a global history of moral censorship in modern times. In Paris 1866, Gustave Courbet’s painting was hidden from public view right after it had been completed. The work – which displays a woman’s abdomen, genitals, and legs – was seen more as a pornographic object than as a work of art. It was sold and resold many times but remained hidden until its first public exhibition in New York in 1988, when it became world famous. Then in 2011, Facebook censored the work again, this time online, under its “Community Guidelines”. What would happen if our human society could learn to accept the sensual body? What if we acknowledged the body as a precious resource for cultivating sensation, connection, and empathy with each other, with the world and with ourselves?
“Public / Private Parts or The Origin of the World” is a dance performance and video installation which looks beyond the limiting binaries of public/private and art/pornography. A community of nine embodiment experts from various professional and cultural backgrounds create mindful body practices to awaken the senses. Through live performances and documentary videos, the group of contemporary dancers, sex workers, and sex educators, explore alone and expand together using the essential bodily functions of touch, breath, sound, movement, and imagination. Intimate and innovative, their discoveries reveal new, hopeful interconnections that could benefit us all.
World premiere live show dates at Festival TransAmériques in Montréal:
June 10 @ 7pm
June 11 @ 7pm
June 12 @ 6pm @ 8pm

Tickets go on sale May 11th at 12pm.
“Having a naked body there apparently is no longer radical but at the same time there’s still a fight against it.”
—Bishop Black, p*rn artist and Video Performer in “Public / Private Parts ou L’Origine du monde”
A Gerard X Reyes production
Director, Choreographer, Performer, Interviewer, Co-editor, Transcriber
Gerard X Reyes

In collaboration with:
Video Installation
Editor, Video dramaturgical advice
Julie Favreau
Video installation, Projection and Programming
Stéphane Gladyszewski
Poppy Sanchez
Bishop Black, Jasko Fide, JorgeTheObscene, Mara Morgen, Rebecca Jackson
Director of photography
Kevin Klein
Second camera operator
Jara Lopez Ballonga
Sound recordist
Antonio Vilchez Monge
Set designer
Jasmine Reimer
Assistant set designer
Kaitlyn Smeeth
Sound editor
Devon Bate
Color correction editor
Max Hilsamer
Translator (French)
Ingrid Vallus
Camera operator (interviews)
David J. Romero
Live Performance
Justin Gionet, Emmanuel Proulx
Movement research assistant
Andréane Leclerc
Dramaturgical advice
Guy Cools
Technical director and Lighting designer
Karine Gauthier
Bendik Giske
Composition and Spatialization
Devon Bate
Dominic Jasmin
Props designer
Jasmine Reimer
Vocal coach
Ann Dyer
Production managers
Alice Renucci, Elisa Hengen, Lucie Juneau
Communications and Promotion
Branding and Design
Vina Goh
Web Developer
Valentin Tsatskin
Community Manager and Translator (Spanish)
Julia Sahagún
Videographer, photographer, editor, translator (Spanish)
Juan David Padilla
International Distribution
PLAN B - Creative Agency for Performing Arts
Festival TransAmériques
Canada Council for the Arts
Le Conseil des arts et des lettres du Québec
Goethe Institut-Montréal
La Société des arts et des compositeurs dramatiques (SACD)
Théâtre Hector-Charland

Gerard would like to express their deep gratitude for all the interviewees in Montreal, Berlin and Zürich. Thank you to my sister, Denise Reyes, Tyrone Harper, Julie Favreau and David J. Romero for guiding me as a novice interviewer.
Fabrik Potsdam, Tanzfabrik Berlin, Tanzhaus Zürich, Grand Studio (Bruxelles), Espace Marie Chouinard, Par B.L.eux/Benoît Lachambre, Compagnie Flak/José Navas, Montréal arts interculturels, Département de danse de l'UQAM, Musée d'art de Joliette
Conseil des arts et des lettres du Québec Théâtre Hector-Charland SACD Canada
Canada Council for the Arts Goethe-Institut