After YES is a group performance experiment. After YES foregrounds the individual dancer’s desire as a product and a force.  After YES questions how community is created in the present moment, and asks ‘what is togetherness?’. After YES relieves the dancer of the responsibility of making sense, while demanding her complete attention and embodied sensitivity. After YES is an improvisational score, plus framing elements like costumes, sound, set, entrances, exits etc... After YES (almost) never changes, but the framing elements do. After YES reads Foucault’s disciplined body, through André Lepecki’s body as archive, in order to arrive at José Munoz’s world building. After YES is a practice that reveals itself as a practice as it gets deeper over time. After YES excavates meaning as a process. After YES is a rejection of some of the improvisational ideas that have been normalized in western experimental dance (prediction, justification, latent visions of what is good, telegraphing complicity) in order to dive deeper into others of these ideas (desire, training, the present moment, saying YES). After YES removes success and failure but also wonders ‘why is this a show?’. After YES is sort of about the apocalypse. After YES wants to help. After YES invites dancers and audience to become more human but also more-than-human.