Dance Improvisation is an essential skill and tool for dancers. It is grounded in the kinesthetic experience and its constantly changing dynamic qualities through self-movement. It requires a spontaneous kinesthetic response in a spatiotemporal vigorous qualitative dynamic happening of affect and movement; a momentum that allows dancers to perform innovative material and as such supports the creative process. The current study raises questions as to whether dance improvisation can be sufficiently examined by the "Theory of enaction," developed by scientists from late 70s on. This theory is an attempt to explain the brain and bridge the gap between mind and experience. The inquiry in this paper asks on the one hand, to what extent "enaction" as set forth by contemporary neuroscientists and cognitive scientists is sufficient to account for the reality of dance improvisation, and on the other hand, how written descriptions of improvisation in dance education can advance understandings of the relationship of consciousness and movement or mind and body.