What people have said
"Revolutionary!! Marie Walton Mahon is one of the great pioneers of our time. She is paving pathways and charting territory unseen in Dance Medicine. Her ideas are backed by sound physiological and bio mechanical training
She is truly reinventing dance conditioning. She is fine tuning the dancers’ instrument, their bodies, like never seen before in a way that sharpens technical precision so that the dancer can become more & achieve more than they have ever imagined. She is creating precision & efficiency and reducing disability by correcting and eliminating injury prevention compensations through her PBT program.
The dancer will attain effortless technical precision enabling dancing from a place of passion that truly takes the stage by storm and literally steals the show and bedazzles the world. With PBT training dancers are achieving what the world has not seen yet!".
Tina Sferra, MSPT, Owner, Elite Performance Physical Therapy of Westchester, PC
“Thank you for sharing your wonderful program with us all in Brisbane last week-end. We’ve got stuck into it on Monday and now the students request it every lesson, but exams are just 3 weeks away, so some negotiation is going on!!”
Leticia Webb ARAD, Director En Pointe Dance Centre, Sunshine Coast.
I first took the PBT teachers' training in Sydney in 2015. I’m a ballet teacher with a Bachelor in Exercise Science but it wasn't until I started incorporating PBT in the students' training that I was able to really communicate effectively with students on the use of correct muscles and recruitment patterns.
For the young students (5/6 ~ 8 year olds) in particular, PBT isn't even a training; it's a reward. They just love the exercises and one of the main reason for that is because they can feel the correct muscles working and get that sense of satisfaction.
Now I've started the online learning too. The "coaching" section separate from the "exercise" video really helps to explore various ways to communicate with students.”
Fumi Somehara, Key Nutrition Solutions | Sydney City Ballet School | Djazzex Dance and Pilates
Wow! The results from Marie Walton-Mahon Progressing Ballet Technique workshop are amazing! We love doing each exercise on the ball just before the relevant syllabus exercises (and go back to the ball if our bodies need reminding) and it is working so brilliantly. Concepts that were difficult for my students to understand, for example engaging their core whilst keeping freedom in the upper torso and arms, have become so easy for them to feel now. Those magical penny drop moments – so that’s how you do it! A Brilliant investment.
Natalie Rogers, Principal of Bojangles Dance, Sydney.
Your work with the balls is amazing . You simply HAVE to activate the right muscles for it to work and as you say, muscles DO remember! And are then so switched on ,warm and ready to work in the ballet studio…. Wow, what a brilliant concept. I now absolutely know what a huge impact this would have on ones technique , strength and stamina. And no doubt excellent in both preventing injury and recovering from…. It is a must to incorporate into the training of a classical dancer. After even such a tiny taste of the work I m convinced of its immense benefits. So thank-you again for such an eye opening afternoon .
Katie was awarded the Senior Scholarship at the Australian Academy of Ballet, and was accepted into the Royal Ballet Upper School. Following her training she was offered a contract by Sir Kenneth MacMillan to join the Resident Royal Ballet Company at Covent Garden. She toured internationally wit the Company, performing works by Ashton, MacMillan and Balanchine. Katie was chosen by the eminent Italian Sculptor, Enzo Plazzotta, to sit for him. After leaving the Company, Katie was requested to guest as Countess Vronsky in the ballet ‘Anna Karenina’ and more recently invited by Director David MacAllister to perform the role of Lady Capulet in ‘Romeo & Juliet’.