For the humour impaired or those who automatically cringe at the use of the F word: the title is intended to be tongue-in-cheek
This webpage quotes a variety of pre-1600 sources describing the appropriate behaviour of dancers. I'm collecting these quotes as a reference for dancers and dance instructors in the SCA, in the hope that they will be encouraged to bear themselves with grace and dignity instead of gallumphing around like low-born fools.
All quotes are in whatever form is most readily available to me -- usually a modern English translation. Additions (or counter-examples) are very welcome!
A cavalier may dance the pavan wearing his cloak and sword, and others, such as you, dressed in your long gowns, walking with decorum and measured gravity. And the damsels with demure mien, their eyes lowered save to cast and occasional glance of virginal modesty at the onlookers. On solemn feast days the pavan is employed by kings, princes and great noblemen to display themselves in their fine mantles and ceremonial robes.
Thoinot Arbeau, Orchesographie (1589)
In every dance, of a most ancient custom, there danceth together a man and a woman, holding each other by the hand or the arm, which betokeneth concord. Now it behoveth the dancers and also the beholders of them to know all qualities incident to a man, and also all qualities to a woman likewise appertaining.
A man in his natural perfection is fierce, hardy, strong in opinion, covetous of glory, desirous of knowledge, appetiting by generation to bring forth his semblance. The good nature of a woman is to be mild, timorous, tractable, benign, of sure remembrance, and shamefast. Divers other qualities of each of them might be found out, but these be the most apparent, and for this time sufficient.
Wherefore, when we behold a man and woman dancing together, let us suppose there to be a concord of all the said qualities, being joined together as I have set them in order. And the moving of the man would be more vehement, of the woman more delicate and with less advancing of the body, signifying the courage and strength that ought to be in a man and the pleasant soberness that should be in a woman.
Sir Thomas Elyot, The Boke named the Gouernour (1531)
There are various other kinds of recreation, such as dancing, that can be enjoyed in public and in private. And I consider that the courtier should take great care over this; for when he is dancing in front of a crowd and along with many others it is fitting, or so I think, that he should maintain a certain dignity, though tempered by the lightness and delicate grace of his movements. He may feel himself to be very light on his feet and a master of time and movement, but even so he should not attempt those quick movements of the feet and double steps which we approve of in our Barletta which, to be sure, are unsuitable for a gentleman. On the other hand, when he is performing in a private room, of the kind we are in now, then I think the should be allowed to try them, and to dance the morris and the brando as well, but not in public unless he is at a masked ball, when it does no harm even if he is recognised.
Baldesar Castiglione, The Book of the Courtier (published 1528 in Venice, first publication in English 1561)
Since I may fashion this lady my own way, I do not want her to indulge in these robust and manly exertions, and, moreover, even those that are suited to a woman I should like her to practise very circumspectly and with the gentle delicacy we have said is appropriate to her. For example, when she is dancing I should not want to see her use movements that are too forceful and energetic [...] So when she is about to dance or make music of any kind, she should first have to be coaxed a little, and should begin with a certain shyness, suggesting the dignified modesty that brazen women cannot understand.
Baldesar Castiglione, The Book of the Courtier, published 1528 in Venice, first publication in English 1561