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Table of contents, elevating dance competition judging criteria.

• 13 May, 2024

Understanding Dance Competitions

Dance competitions play a significant role in the world of dance, providing a platform for dancers to showcase their skills, creativity, and artistry. To successfully navigate the dance competition industry, it is crucial to have a clear understanding of the purpose of dance competitions and the different types that exist.

Purpose of Dance Competitions

The purpose of dance competitions extends beyond simply determining winners and losers. Dance competitions serve as opportunities for dancers to challenge themselves, gain performance experience, and receive feedback from industry professionals. They offer a platform for dancers to showcase their talent, express their artistry, and receive recognition for their hard work.

For aspiring dancers, competitions can open doors to various opportunities such as scholarships, performance contracts, and networking with industry professionals. Additionally, dance competitions provide a supportive environment for dancers to connect with like-minded individuals, fostering a sense of community and camaraderie.

Types of Dance Competitions

Dance competitions come in various formats, catering to different styles, age groups, and skill levels. Some common types of dance competitions include:

Solo Competitions : These competitions focus on individual dancers performing solo routines. Dancers are evaluated on their technical execution, artistry, musicality, and overall performance.

Group Competitions : Group competitions involve dance routines performed by a group of dancers. The group size can range from small ensembles to large dance companies. These competitions assess the synchronization, precision, and overall quality of the group’s performance.

Genre-Specific Competitions : These competitions specialize in specific dance genres such as ballet, hip-hop, contemporary, jazz, or tap. Dancers compete within their chosen genre, allowing for a more focused assessment of their skills and technique.

Age-Specific Competitions : Age-specific competitions are designed for dancers within specific age ranges, such as children, teenagers, or adults. These competitions ensure fair evaluation by placing dancers in appropriate age categories.

Amateur and Professional Competitions : Distinctions between amateur and professional competitions are made to cater to dancers at different stages of their careers. Amateur competitions are typically for dancers who have not yet pursued dance professionally, while professional competitions are open to those already working in the industry.

Understanding the purpose and types of dance competitions is essential for anyone involved in the dance competition business. By recognizing the significance of these events and the diversity they offer, dance event organizers can plan and execute successful competitions that provide a platform for dancers to thrive. To learn more about starting a dance competition business, refer to our article on how to start a dance competition business .

Planning Your Dance Competition Business

Before diving into the world of dance competitions, it is crucial to carefully plan and establish your dance competition business. This involves conducting thorough market research and developing a comprehensive business plan.

Market Research

Conducting market research is a vital step in understanding the dance competition industry and identifying opportunities for your business. It involves gathering information about the target market, competitors, and industry trends. By analyzing this data, you can make informed decisions that will set your dance competition apart.

During the market research phase, consider the following factors:

Target Audience : Determine the specific demographic you want to cater to, such as age groups, dance styles, or skill levels. Understand their preferences and expectations to tailor your competition accordingly.

Competition Analysis : Study existing dance competitions in your area or niche. Evaluate their strengths, weaknesses, and unique selling points. This analysis will help you identify gaps in the market that your competition can fill.

Industry Trends : Stay updated on the latest trends and developments in the dance competition industry. This includes changes in dance styles, popular themes, and emerging technologies. Incorporating these trends can enhance the appeal and relevance of your competition.

Business Plan Development

A well-crafted business plan is essential for the success of your dance competition venture. It serves as a roadmap, outlining your business goals, strategies, and financial projections. Here are key elements to consider when developing your dance competition business plan:

Executive Summary : Provide an overview of your business, including its mission, vision, and objectives. Summarize the key components of your business plan.

Company Description : Describe your dance competition business in detail. Explain the unique aspects that set your competition apart from others. Highlight your USP (Unique Selling Proposition) and target market.

Market Analysis : Present the findings of your market research, including target audience demographics, competitor analysis, and industry trends. This section demonstrates your understanding of the market and how your competition will fill a need or gap.

Competition and Positioning : Identify your direct and indirect competitors and analyze their strengths and weaknesses. Determine how your dance competition will differentiate itself and position itself in the market.

Organizational Structure : Define the organizational structure of your dance competition business. Outline key roles and responsibilities, including event management, marketing, finance, and operations.

Marketing and Promotion : Develop a comprehensive marketing strategy to attract participants, sponsors, and spectators. Include promotional activities, advertising channels, and social media strategies.

Financial Projections : Provide financial forecasts, including revenue projections, expenses, and profitability analysis. Include a budget for venue rental, staffing, marketing, prizes, and other operational costs.

A well-written and thorough business plan will not only guide you through the initial stages of your dance competition business but also serve as a valuable tool when seeking funding or partnerships.

By conducting market research and developing a solid business plan, you will set a strong foundation for your dance competition business. These crucial steps will help you understand your target market, analyze the competition, and create a strategic roadmap for success.

Legal Considerations for Dance Competitions

When organizing a dance competition, it’s essential to understand and comply with the legal requirements associated with such events. This section will cover two key legal considerations: obtaining permits and licenses, and acquiring liability insurance.

Permits and Licenses

Before hosting a dance competition, it is crucial to check the local regulations and requirements for organizing events. Depending on the location and scale of the competition, you may need to obtain certain permits and licenses.

• Event Permit: Ensure that you have the necessary permits from local authorities to hold the competition at a specific venue. These permits may include permissions for the use of public spaces, parking arrangements, and crowd management.
• Music Performance License: If you plan to play copyrighted music during the competition, you may need to obtain a music performance license from the appropriate licensing agency. This license ensures that the artists and creators of the music are properly compensated for their work.
• Business License: Check with your local government or municipality to determine if you need a business license to operate a dance competition. This license allows you to legally conduct your business activities and may require the payment of certain fees.
• Talent Agency License (if applicable): In some jurisdictions, if you are booking performers or talent for the competition, you may need to obtain a talent agency license. This license ensures that you are operating within the legal framework and protecting the rights of the performers.

Be sure to research and comply with the specific permits and licenses required in your area. Failure to obtain the necessary permits and licenses can result in fines or the cancellation of your event. For more information and guidance on starting a dance competition business, refer to our article on how to start a dance competition business .

Liability Insurance

Dance competitions involve various participants, including dancers, instructors, judges, and audience members. It is essential to protect yourself and your business from potential liabilities and accidents by obtaining liability insurance.

Liability insurance provides financial coverage in case of accidents, injuries, or property damage that may occur during the dance competition. It can help protect your business from legal claims and cover medical expenses or property repairs.

When selecting liability insurance for your dance competition, consider the following coverage options:

• General Liability Insurance: This coverage protects you against claims related to bodily injury, property damage, or personal injury that may occur during the event.
• Participant Liability Insurance: This coverage applies to injuries sustained by participants, such as dancers, during rehearsals or performances. It may also cover injuries resulting from the use of dance equipment or facilities.

Consult with an insurance professional who specializes in event insurance to determine the most appropriate coverage for your dance competition. They can help you assess the risks involved and provide guidance on the insurance options available.

By obtaining the necessary permits and licenses and securing liability insurance, you can ensure that your dance competition is organized in compliance with legal requirements and minimize potential risks. This allows you to focus on delivering a successful and enjoyable event for participants and spectators alike.

Setting Up Judging Criteria

Setting up clear and comprehensive judging criteria is essential for ensuring fairness and consistency in dance competitions. Judges rely on these criteria to evaluate and score performances accurately. Let’s explore the components of judging criteria and the importance of clear guidelines in this process.

Components of Judging Criteria

Judging criteria typically consist of multiple components that assess various aspects of a dance performance. These components may include:

• Technique : Evaluating the dancers’ technical skills, such as precision, control, flexibility, and strength.
• Artistry : Assessing the dancers’ ability to express emotion, musicality, storytelling, and interpretation of the choreography.
• Performance : Considering the energy, stage presence, charisma, and connection with the audience or other dancers.
• Choreography : Examining the creativity, originality, and composition of the choreography itself.
• Costume and Presentation : Taking into account the visual impact of costumes, makeup, and overall presentation.

These components may vary depending on the specific dance style or competition. It’s crucial to define and communicate each component clearly to the judges, ensuring they understand the specific aspects to evaluate.

Importance of Clear Guidelines

Clear and well-defined guidelines are vital to maintain consistency and impartiality in judging dance competitions. When judges have a clear understanding of the criteria, it helps eliminate ambiguity and ensures that all performances are evaluated fairly.

Clear guidelines provide a framework for judges to assess performances consistently, regardless of personal preferences or biases. It helps prevent subjective judgments and ensures that the evaluation process is objective and transparent.

To establish clear guidelines, dance competition organizers can consider the following steps:

• Define the Criteria : Clearly articulate the different components of the judging criteria and provide specific descriptions of what judges should look for in each component. This clarity helps judges focus on specific elements and evaluate performances consistently.
• Provide Scoring Guidelines : Establish a scoring system that aligns with the components of the judging criteria. For example, assign point ranges or categories for each component to guide judges in assigning scores.
• Training and Orientation : Conduct training sessions or orientations for judges prior to the competition. These sessions should cover the judging criteria, scoring guidelines, and any specific considerations for the competition. This helps ensure that all judges have a shared understanding of the criteria and are prepared to evaluate performances effectively.
• Regular Communication : Maintain open communication with judges throughout the competition. Address any questions or concerns they may have regarding the judging criteria, and provide clarifications when necessary.

By setting up comprehensive judging criteria and establishing clear guidelines, dance competition organizers can promote fairness, consistency, and transparency in the judging process. This ultimately enhances the overall experience for participants and maintains the integrity of the competition.

Running a Successful Dance Competition

Running a successful dance competition requires careful planning and execution. Two crucial aspects to consider are logistics and venue selection, as well as effective marketing and promotion strategies.

Logistics and Venue Selection

When organizing a dance competition, selecting the right venue is essential for creating a memorable experience for participants and spectators alike. Here are some key factors to consider when it comes to logistics and venue selection:

Capacity : Ensure that the chosen venue has adequate space to accommodate participants, judges, staff, and spectators. Consider the number of stages, changing rooms, and seating capacity required.

Facilities : Look for a venue that provides essential amenities such as clean restrooms, backstage areas, and sufficient parking facilities. Accessibility for participants with disabilities should also be taken into account.

Technical Requirements : Depending on the nature of the competition, you may require specific technical equipment such as sound systems, lighting rigs, and a sturdy stage. Confirm that the venue can accommodate these technical needs.

Location : Choose a venue that is easily accessible and well-connected to public transportation. Consider the convenience for participants traveling from different areas. Additionally, the proximity of hotels and restaurants can enhance the overall experience for attendees.

Safety Measures : Prioritize the safety of participants and attendees. Ensure that the venue meets all necessary safety regulations and has appropriate emergency response plans in place.

Marketing and Promotion Strategies

Effective marketing and promotion are crucial for attracting participants and generating excitement around your dance competition. Consider the following strategies to maximize your reach:

Online Presence : Create a professional website that provides detailed information about the competition, including dates, rules, and registration process. Optimize your website for search engines to increase visibility. Utilize social media platforms to engage with your target audience and share updates regularly.

Targeted Advertising : Identify your target audience, such as dance studios, choreographers, and dance enthusiasts, and use targeted online advertising to reach them. Consider partnering with relevant influencers or dance communities to expand your reach.

Email Marketing : Build an email list of potential participants and interested individuals. Send regular newsletters with updates, deadlines, and special offers to keep them engaged and informed.

Partnerships and Sponsorships : Collaborate with dance-related businesses, organizations, and local sponsors to increase visibility and support. This can include offering promotional opportunities, providing discounts or prizes, or hosting joint events.

Press Coverage : Reach out to local media outlets, dance publications, and bloggers to secure press coverage for your competition. Press releases, media kits, and interviews can help generate buzz and attract attention.

By carefully considering logistics and venue selection, as well as implementing effective marketing and promotion strategies, you can ensure the success of your dance competition. Remember to stay organized, communicate clearly with participants, and provide an exceptional experience for all involved. For more information on starting and managing a dance competition business, refer to our comprehensive guide on how to start a dance competition business .

Ensuring Fairness and Transparency

To maintain the integrity of your dance competition, it’s crucial to ensure fairness and transparency throughout the judging process. This helps to build trust among participants and establishes your competition as a reputable event. Two key aspects of achieving fairness and transparency are training judges and handling disputes and appeals.

Training Judges

Properly training judges is essential to ensure consistent and fair evaluations. Judges should possess a deep understanding of dance techniques, styles, and performance elements. They should also be knowledgeable about the specific criteria and rules established for the competition.

Here are some steps to consider when training judges:

Qualifications and Expertise : Select judges who have extensive experience in the dance industry, preferably with a diverse background in different dance styles. Their expertise should align with the competition’s focus.

Orientation and Training : Conduct an orientation session to familiarize judges with the competition’s rules, criteria, and scoring system. Provide comprehensive training on the specific elements they should consider when evaluating performances.

Continued Education : Encourage judges to stay updated with current trends and developments in the dance industry. Provide resources and opportunities for professional development, such as workshops and seminars.

Mock Judging : Arrange practice sessions where judges can evaluate performances and receive feedback. This helps ensure consistency in scoring and provides an opportunity for judges to refine their judging skills.

By investing in proper judge training, you can enhance the credibility and fairness of your dance competition.

Handling Disputes and Appeals

Disputes and appeals may arise during or after a dance competition. It’s crucial to have a clear and transparent process in place to handle these situations. This helps maintain the trust of participants and ensures that any concerns are addressed impartially.

Consider the following steps when handling disputes and appeals:

Establish a Protocol : Define a clear process for participants to submit disputes or appeals. This should include specific timelines and requirements for documentation or evidence.

Appoint an Appeals Committee : Create an appeals committee consisting of individuals who are not directly involved in the judging process. This committee should be knowledgeable about dance and competition rules.

Review and Investigation : The appeals committee should thoroughly review the dispute or appeal, including any supporting evidence provided by the participant. They may need to consult with judges, review video recordings, or seek expert opinions to make an informed decision.

Timely Communication : Keep participants informed throughout the process, providing updates on the status of their dispute or appeal. This helps to maintain transparency and build trust.

Final Decision : Once the appeals committee reaches a decision, communicate the outcome to the participant in a timely manner. Ensure that the decision is fair and consistent with the competition’s rules and criteria.

By establishing a robust process for handling disputes and appeals, you can demonstrate your commitment to fairness and transparency in your dance competition.

Ensuring fairness and transparency in your dance competition not only benefits the participants but also strengthens the reputation of your event. By training judges effectively and implementing a clear process for handling disputes and appeals, you can create an environment where dancers feel confident in the judging process and strive for excellence.

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Evaluating The Performance

Adjudicating.

The couples' performances are evaluated by a panel of judges, "Adjudicators" as they are called in DanceSport, in a transparent process aiming at maximum objectivity of the results. The methods for evaluation have been optimised by WDSF over many years and take all of the sport's particular traits into account.

Judging Criteria

A performance in DanceSport cannot be assessed by applying any absolute measures. No distance in metres that couples cover with their Waltz, no timing in seconds for the Quickstep! Instead, many criteria are considered, all at once, to determine who is best on the floor.

• POSTURE makes dancers look elegant and exude confidence.
• TIMING and BASIC RHYTHM refers to their ability to dance on time with the music.
• BODY LINE describes the length and stretch of their bodies from head to toe. Attractive body lines, curved or straight, enhance the shapes of the figures they dance.

The list of criteria goes on: HOLD, MOVEMENT, PRESENTATION, RHYTHMIC INTERPRETATION, FOOT ACTION, FLOOR CRAFT, etc. It even includes some

• INTANGIBLES comprising factors such as how two dancers look and fit together as a couple, how their costuming and appearance are perceived, etc.

Criteria Applied

The adjudicator is not required to use all criteria at all times. The emphasis put on certain criteria shifts somewhat in different stages of the competition. In the early stages - in the preliminary rounds - emphasis is put on criteria related to the basic requirements, e.g. correct dance hold, basic technical competence, movement in time with the music, etc. The performances are primarily judged for their correctness.

As the competition progresses, the more sophisticated criteria are applied. They relate to accuracy of execution, dynamic qualities, characterisation of the dances, partnering skills, body rhythm, etc. In the semi-finals and finals the adjudicators consider the artistic value of a performance too. The winning couple, therefore, has successfully complied with the basic requirements and excelled after most or all of the criteria have been considered by the adjudicators.

Published on 19 October 2010 (last update on 25 April 2023)

Mastering Zumba: Your Ultimate Guide to Knowing What to Do in a Zumba Class

Home » Zumba » Mastering Zumba: Your Ultimate Guide to Knowing What to Do in a Zumba Class

Table of Contents

1. Dance Moves

2. rhythm and timing, 3. cardiovascular endurance, 4. core strength, 5. fun and expression, 1. comfortable workout attire, 2. supportive footwear, 3. hydration, 4. positive mindset, 5. warm-up and cool-down, 1. attend different instructors’ classes, 2. join zumba parties or events, 3. incorporate props, 4. try different zumba variations, 5. dance with friends, 6. set personal goals, 7. record yourself, 8. mix up your playlist, 9. embrace freestyle moments, 10. celebrate your progress, 1. break it down, 2. repetition is key, 3. visualize the moves, 4. practice with music, 5. mark your steps, the 5 essential elements of zumba: unleashing the power of dance fitness.

Zumba is a dynamic and energetic dance fitness program that combines Latin and international music with cardio exercise. To truly master Zumba, it’s important to understand the five essential elements that make up this exhilarating workout:

Zumba incorporates a variety of dance styles, including salsa, merengue, cumbia, reggaeton, and more. Each dance move is carefully choreographed to engage different muscle groups and provide a full-body workout. By mastering these moves, you’ll be able to follow along seamlessly in a Zumba class.

Zumba is all about moving to the beat of the music. It’s important to develop a sense of rhythm and timing to stay in sync with the instructor and the rest of the class. Practice counting beats, listening to the music, and focusing on the rhythm to improve your overall performance.

Zumba is a high-energy workout that gets your heart pumping and your blood flowing. It’s essential to build your cardiovascular endurance to keep up with the fast-paced movements and maintain your energy throughout the class. Incorporate regular cardio exercises into your training routine to improve your stamina.

Zumba involves a lot of hip and abdominal movements, which require a strong core. By strengthening your core muscles through exercises like planks, crunches, and twists, you’ll be able to execute Zumba moves with precision and control.

One of the key aspects of Zumba is the joy and fun it brings to participants. Let loose, express yourself, and enjoy the music as you dance your way through a Zumba class. Remember, it’s not just about the steps, but also about the passion and energy you bring to each movement.

Top Essentials for an Effective Zumba Session: Must-Haves and Tips

To make the most out of your Zumba sessions, here are some essential items and tips to keep in mind:

Wear breathable and flexible clothing that allows for a wide range of movement. Opt for moisture-wicking materials that keep you cool and dry throughout the class.

Invest in a pair of supportive athletic shoes that provide cushioning and stability. This will help protect your feet and joints during the high-impact movements in Zumba.

Stay hydrated before, during, and after your Zumba class. Bring a water bottle and take regular sips to replenish fluids lost through sweat.

Approach each Zumba session with a positive mindset and a willingness to challenge yourself. Remember, it’s okay to make mistakes and have fun along the way.

Prioritize warming up and cooling down before and after each Zumba session. This helps prepare your muscles for the intense workout and prevents injuries.

10 Fun and Effective Tips to Spice Up Your Zumba Class

If you’re looking to add some excitement and variety to your Zumba classes, here are ten tips to consider:

Each Zumba instructor brings their own unique style and playlist to the class. Try attending classes taught by different instructors to experience a variety of dance moves and music genres.

Participate in Zumba parties or events in your community to dance alongside a larger group of enthusiasts. These gatherings often feature special themes, guest instructors, and live performances, adding an extra element of excitement to your workout.

Get creative and incorporate props like maracas, scarves, or resistance bands into your Zumba routine. This adds an element of fun and challenges your muscles in new ways.

Explore different Zumba variations such as Aqua Zumba, Zumba Toning, or Zumba Gold. Each variation offers a unique twist to the traditional Zumba class, keeping your workouts fresh and engaging.

Invite your friends to join you in a Zumba class. Dancing together not only adds a social aspect but also motivates and pushes each other to give your best performance.

Set specific goals for yourself, whether it’s mastering a challenging routine or attending a certain number of classes per week. Having goals gives you something to work towards and helps you stay motivated.

Record your Zumba sessions and watch them back to identify areas for improvement. This allows you to fine-tune your technique and perfect your moves.

Create a diverse playlist with a mix of different music genres and tempos. Experiment with different playlists to find the ones that energize and inspire you the most.

Don’t be afraid to let loose and add your own flair to the choreography. Embrace freestyle moments to express yourself and showcase your individuality.

Take time to acknowledge and celebrate your progress in mastering Zumba. Whether it’s nailing a complex routine or improving your endurance, recognize and reward yourself for your achievements.

Mastering Zumba Choreography: Effective Techniques for Memorization

Learning and memorizing Zumba choreography can be challenging, but with the right techniques, you can become a master in no time. Here are some effective tips to help you remember Zumba routines:

Break down the choreography into smaller sections and learn each section step by step. Take your time to master each section before moving on to the next.

Repetition is crucial when it comes to memorizing Zumba choreography. Practice the routine multiple times until the movements become second nature to you.

Visualize the dance moves in your mind before executing them. This mental rehearsal helps reinforce the muscle memory and makes it easier to remember the choreography.

Practice the routine with the music playing in the background. The rhythm and melody will help you synchronize your movements and remember the sequence of steps.

Use markers or symbols to represent each step in the choreography. This visual aid can help you visualize and remember the sequence of movements more easily.

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In fact on X (Twitter), Blitzscaling Ventures general partner Jeremiah Owyang commented that “AI agents will autonomously handle laborious tasks for us, such as managing repetitive emails, filling out expense reports, booking travel, scheduling calls, doing internet research, and performing monotonous e-commerce tasks. It won’t be perfect, it will take time to refine.As a result, information will come to humans in just a few user interfaces where we can manage our agent workers, reducing the need to traverse websites.

In contrast, blockchain technology, though younger, is rapidly evolving to address both consumer and enterprise needs. Its decentralized nature introduces unique complexities, but also promises revolutionary applications across various sectors.

The Web3 experience underscores the importance of thorough due diligence and a deep understanding of the underlying technology. AI investors should heed these lessons, being wary of unrealistic promises and focusing on companies with clear use cases and revenue models. Maintaining a long-term perspective is crucial, as the full potential of AI, like Web3, may take years to materialize fully.

As these technologies mature, we're likely to see a convergence, with AI enhancing blockchain capabilities and decentralized systems providing new frameworks for AI deployment and governance. The key for investors and innovators alike is to balance enthusiasm with realistic expectations, recognizing that true technological revolutions often unfold over decades rather than months.

With AI reaching into almost every aspect of life, the future will almost certainly see an integration of AI and Web3 technologies, creating new opportunities as this intersection acts as a “force multiplier” for each revolution’s transformative capabilities. Decentralized AI systems and blockchain-based machine learning marketplaces are just a few potential areas of convergence. So, for investors it’s not a case of either/or: they need to keep an eye on the evolving, often symbiotic landscapes of both Web3 and AI, the implications of new developments on each other, and on the wider tech and industry investment landscapes.

NEW YORK, NEW YORK - JUNE 23: People take photos by a Bored Ape Yacht Club NFT billboard in Times ... [+] Square during the 4th annual NFT.NYC conference on June 23, 2022 in New York City. The four-day event featured 1,500 speakers from the crypto and NFT space with over 14,000 guests in attendance. (Photo by Noam Galai/Getty Images)

The AI investment boom shares many similarities with the Web3 cycle, but also presents unique opportunities and challenges. By learning from the Web3 experience, investors can navigate the AI landscape more wisely, balancing enthusiasm with caution. Ultimately, both AI and Web3 represent transformative technologies that will continue to shape our digital future, regardless of short-term investment trends.

Emphasize Regulatory Awareness and Ethical Considerations

As with Web3, the AI industry is poised to encounter significant regulatory scrutiny. The implications of AI on privacy, bias, and ethical standards are already drawing the attention of regulators worldwide.

For AI investors, it is crucial to consider the regulatory landscape and invest in companies that not only comply with current laws but are also proactive in addressing potential future regulations. Companies that prioritize ethical AI development, ensuring transparency, fairness, and accountability, are more likely to sustain long-term success and public trust.

It’s All About the Business

As we navigate the exciting yet complex landscapes of AI and Web3, investors, technologists, and business leaders must approach these fields with both enthusiasm and caution. Choose your investments and projects carefully, looking beyond flashy demos to examine the underlying data strategy – it's the fuel that powers these technologies.

Sandy Carter slide from her presentation on AI First, July 2024.

Pay close attention to change management; the most brilliant innovation is worthless if your team or customers can't adapt to it. Keep a laser focus on tangible business outcomes rather than getting lost in technological rabbit holes. Remember, success in these domains often comes from starting small: begin with pilot projects that demonstrate clear value and build from there.

By taking measured steps, learning from each iteration, and staying aligned with core business objectives, you'll be better positioned to harness the transformative potential of AI and Web3 while mitigating risks. In this rapidly evolving landscape, those who combine visionary thinking with pragmatic execution will be the ones who truly thrive.

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Unlock the Power of Zumba: A Comprehensive Guide to Its Movements and Benefits

What To Know

• Zumba PPT is a captivating presentation that delves into the vibrant world of Zumba, a high-energy dance fitness program that has taken the world by storm.
• Zumba is a transformative fitness experience that combines infectious rhythms, energetic dance moves, and a supportive community.
• Whether you’re looking to improve your cardiovascular health, lose weight, or simply have fun, Zumba offers a unique and exhilarating workout that will leave you feeling invigorated and empowered.

Zumba PPT is a captivating presentation that delves into the vibrant world of Zumba, a high-energy dance fitness program that has taken the world by storm. This presentation provides a comprehensive overview of Zumba’s origins, benefits, and the key elements that make it an exhilarating and transformative workout.

Origins of Zumba

Zumba was conceived in the mid-1990s by Colombian dancer and choreographer Alberto “Beto” Perez. While teaching an aerobics class, Perez accidentally left his traditional music at home and improvised using salsa and merengue music . The combination of infectious rhythms and energetic dance moves proved to be an instant hit , and Zumba was born.

Benefits of Zumba

Zumba offers a multitude of physical and mental benefits , including:

• Cardiovascular health: The fast-paced dance moves elevate heart rate and improve cardiovascular fitness.
• Weight loss: Zumba burns a significant number of calories, making it an effective tool for weight management.
• Muscular strength and endurance: The repetitive dance movements engage various muscle groups, building strength and endurance.
• Improved coordination and balance: Zumba requires quick footwork and body control, enhancing coordination and balance.
• Stress relief: The upbeat music and energetic atmosphere of Zumba classes create a mood-boosting experience, reducing stress levels.

Key Elements of Zumba

Zumba is characterized by several key elements:

• Latin-inspired rhythms: Zumba incorporates a wide range of Latin dance styles, including salsa, merengue, reggaeton, and cumbia.
• Easy-to-follow choreography: The dance moves are designed to be accessible to people of all fitness levels and dance abilities.
• High-energy atmosphere: Zumba classes are often filled with energetic music, enthusiastic instructors, and a supportive community.
• Social interaction: Zumba classes provide an opportunity to connect with others, make friends, and enjoy a shared fitness experience.

Types of Zumba Classes

There are various types of Zumba classes to cater to different fitness needs and preferences:

• Zumba Classic: The original Zumba format, featuring a mix of Latin dance styles.
• Zumba Gold: A low-impact class designed for seniors and individuals with limited mobility.
• Zumba Step: A class that incorporates a step platform to enhance cardiovascular intensity.
• Zumba Toning: A class that uses weighted sticks or dumbbells to add resistance training.
• Zumba Kids: A class specifically designed for children, focusing on fun and age-appropriate dance moves.

How to Get Started with Zumba

To get started with Zumba, follow these steps:

• Find a class: Search online or at local gyms and fitness centers for Zumba classes that fit your schedule.
• Wear comfortable clothing: Choose clothing that allows for freedom of movement and moisture-wicking properties.
• Bring plenty of water: Stay hydrated during class by bringing a water bottle.
• Listen to your body: Zumba is a physically demanding activity, so it’s important to listen to your body and take breaks when necessary.

Wrap-Up: The Power of Zumba

Zumba is a transformative fitness experience that combines infectious rhythms, energetic dance moves, and a supportive community . Whether you’re looking to improve your cardiovascular health , lose weight , or simply have fun, Zumba offers a unique and exhilarating workout that will leave you feeling invigorated and empowered.

Frequently Asked Questions

Q: Is Zumba suitable for beginners? A: Yes, Zumba is designed to be accessible to people of all fitness levels and dance abilities.

Q: What kind of shoes should I wear for Zumba? A: Choose comfortable , supportive sneakers with non-slip soles.

Q: How often should I do Zumba to see results? A: Aim for at least 3-4 Zumba classes per week for optimal results.

Q: Does Zumba require any special equipment? A: No, Zumba does not require any special equipment beyond comfortable clothing and shoes.

Q: Is Zumba safe for pregnant women? A: While Zumba is generally safe for pregnant women , it’s important to consult with your doctor before starting any new exercise program.

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Zumba Classes: Dancing Your Way to Fit

A fitness company known for its Latin dance-based group classes

Kate_sept2004 / Getty Images

• Original Zumba

History of Zumba

Types of zumba classes, how zumba works, benefits of zumba, disadvantages, safety considerations, how zumba compares.

Zumba is one of the best-known fitness organizations in the world, with more than 200,000 class locations available in 180 countries. And while the brand is best known for its signature "Zumba" Latin dance fitness class, the company offers several additional workout formats, from strength training to kid's fitness classes and even water aerobics classes.

Each workout involves highly choreographed movements set to upbeat salsa and international music. Essentially, Zumba is a fun, high-energy workout experience that keeps you excited to exercise and return for more.

What Is Zumba?

Zumba's most well-known and popular program is its namesake class, Zumba. This high-energy dance class features intervals that help improve cardiovascular fitness while also enhancing balance, coordination, agility, and to some degree, strength through the application of beginner-accessible choreography.

You don't need special dance skills to have a great time in Zumba class. People with natural rhythm may pick up on the moves faster, but no one is keeping score, so just dance, let go, and have fun.

Zumba classes typically consist of Latin-inspired songs, starting with a slower warm-up song, building intensity throughout the workout, and ending with a cool-down song. Even if you're not a strong dancer, the choreography is repetitive and designed to be built upon, so most people will catch on to the moves as they go.

Zumba was officially founded in the United States in 2001 by Alberto "Beto" Perez, a Colombian dancer who started the fitness class in the '90s in his home country. Perez's "rags to riches" story could be considered serendipity—he was teaching an aerobics class at his local gym when he realized he'd forgotten his usual music.

Why Is it Called Zumba?

Zumba got its name from its similarity to the Cuban music genre rumba. Music is a big factor in Zumba classes.

In 2000, Perez launched Zumba fitness class in the United States. In 2001, he partnered with two investors and released a series of three Zumba DVDs available through an infomercial.

The dance fitness concept wasn't new when Zumba rose to fame, but the high-energy fun of its classes was. Plus, Zumba's timing was ideal. In the early 2000s, large fitness centers, like 24 Hour Fitness and Lifetime Fitness were popping up everywhere, often including group fitness classes as a benefit of membership. These gyms were looking for unique classes to add to the draw of their clubs, and Zumba fit the bill.

Zumba tends to appeal to a predominantly female audience, but everyone is welcome. And because the choreography is accessible even to those with "two left feet," people of all ages and dance abilities have flocked to Zumba, especially during the peak of its popularity between 2005 and 2015.

As a result, the brand added numerous programs to make the class and choreography even more accessible to people of all ages, genders, and fitness levels. Zumba classes include:

• Aqua Zumba : Perfect for those with lower-extremity injuries or needing low-impact exercise, Aqua Zumba takes the Latin dance craze to the pool.
• Zumba Gold : This modified version of the standard Zumba class is geared to an older audience that wants the same fun music and flair as a traditional class but performed at a lower intensity.
• Zumba Kids : Designed for kids between 7- to 11-years-old, Zumba Kids modifies and breaks down traditional Zumba moves, then adds games and activities to the class to keep children engaged and interested as they break a sweat.
• Zumba Kids Jr .: Similar to Zumba Kids, Zumba Kids Jr. is modified for the 4- to 6-year-old audience and is positioned even more as a "dance party" to help keep this age group on "task."
• Zumba Step : The same Latin-inspired dance choreography, but with the addition of an aerobic step to increase the intensity of the workout and add more leg-strengthening moves due to repeatedly stepping on and off the elevated surface
• Zumbini : This once-a-week, 45-minute class is designed for the littlest Zumba fans between 0 and 3 years old; the little ones and their caregivers meet to bond over music and engage in age-appropriate active play; think less "workout" and more "learning experience."

As strength-training classes gained popularity over the past decade, pulling people into CrossFit gyms and choreographed strength classes, the Zumba brand worked on adding more strength options to its repertoire, including:

• Strong by Zumba : A high-intensity bodyweight training workout with movements choreographed to the beat of the music; pushups , squats, burpees, and lunges are staples of this routine.
• Zumba Gold-Toning : Just like Zumba Toning, but at a lower intensity designed for a somewhat older audience.
• Zumba In the Circuit : Designed as a circuit, alternating between Zumba dance moves and strength-training exercises for a full-body workout intended to improve cardiovascular fitness and muscular strength.
• Zumba Sentao : Uses a chair as a "dance partner" to focus on core strength without using weights.
• Zumba Toning : Incorporates the use of Zumba Toning Sticks (or light weights) to add an element of strength training to familiar Zumba dance moves.

Almost all Zumba classes are designed as 45- to 60-minute group exercise classes led by a Zumba-certified instructor. These are typically offered at gyms and fitness centers, although Zumba instructors are welcome to market classes on their own, hosting workouts at parks, schools, or other venues.

Zumba Basics

Zumba classes consist of a series of Latin dance songs, each with highly choreographed dance movements that build on each other. The first song offers a slower beat to help you get warmed up, with each successive song building in intensity and challenge, with a few lower-intensity dance series built in for recovery. The Zumba workout wraps up with a cool-down song.

Between songs, you can grab water and take a second to catch your breath before the next song starts.

Schedules for Zumba are typically based on the gym or fitness center where classes are hosted. For cardio-based fitness classes like Zumba, it's ideal to get on a regular schedule and participate in at least two to three classes weekly.

Overall, Zumba feels like a dance party disguised as a workout—which is exactly what people love about it. Zumba is a safe, fun, and effective workout for most people who want to enhance their cardiovascular fitness through dance. There are few drawbacks to the program, but general precautions you should be aware of when starting any new workout routine.

Below are the benefits of Zumba class from physical to practical considerations.

Accessibility

Due to the program's widespread availability and the varied class style, Zumba as a brand is quite flexible and suited to almost all fitness levels and interests.

Even if your local gym doesn't offer Zumba classes, you may find that a nearby swimming pool offers Aqua Zumba or an independent instructor who provides classes with a pay-per-class structure at a nearby park.

How to Find a Zumba Class

Check online or call your local gym studios to find Zumba classes near you. It's a popular class that has expanded to many locations.

General Fitness

Given Zumba's sustained popularity, many studies have been performed on the efficacy of the workout. One recent review found that Zumba was effective at improving aerobic capacity (cardiovascular fitness), while limited additional evidence pointed to possible enhancements to muscular fitness and flexibility.

Sustainability

One of the most critical factors in exercise is adherence—continuing the exercise program after you start. Generally speaking, the more enjoyable a program is, the more motivated you will be to continue. And the more consistent you are with a program, the more likely you will experience positive results.

A 2014 study published in the Journal of Sports Medicine and Physical Fitness found that a Zumba intervention in sedentary adults with metabolic syndrome "showed good feasibility and adherence," which points to the positive sustainability of the program as a whole.

Energy and General Health

While almost any sustained workout program may help boost mood, self-esteem, and energy, Zumba has a few peer-reviewed studies pointing to its psychological benefits.

Namely, a 2016 study published in the Journal of Physical Activity and Health found that healthy women who participated in an 8-week Zumba program experienced positive changes in perceptions of physical strength, autonomy, and purpose in life, improving their overall feelings of health and well-being.

The cost of Zumba is variable, depending on where you take the class. If you're paying on a fee-per-class basis, you're likely to spend between $5 and $25 per class, depending on the setting and instructor. If you're a member of a gym where Zumba is offered, class may be included as part of your membership.

If you're on a budget, you can purchase a DVD or digitally stream for a home workout. The flexibility of price, depending on location and needs, makes the program financially accessible for most people.

Zumba doesn't make unrealistic claims about calorie burn or the potential for weight loss or strength gains. Instead, their marketing focuses on improving fitness in a fun way that helps enhance how you feel every day—and more than delivers on those fronts.

Zumba has a lot of benefits, but there are some potential disadvantages to consider.

Lacks Strengthing and Flexibility Components

The literature is clear that Zumba can provide cardiovascular benefits, but the jury is out on whether there are significant benefits to flexibility and strength. Unless you're taking Zumba classes, such as Strong by Zumba, that expressly incorporate strength-training moves as a primary component of the workout, you shouldn't view Zumba as a well-rounded general fitness class.

In addition to taking two to three Zumba classes a week, you may also want to add a few strength training and flexibility activities to your schedule. Consider trying a 30-minute strength circuit followed by a 10-minute stretching session on days you're not doing Zumba.

All fitness programs, regardless of type, carry an inherent risk. You could pull a muscle, twist an ankle, or fall. If you do too much too soon, you can risk excessive soreness or symptoms of overtraining .

That said, the Zumba brand has gone out of its way to develop programs designed for all audiences and age levels, offering varying levels of intensity and challenge to reduce the risk of potential injury.

Zumba is considered a generally safe fitness activity, but because all physical activity carries inherent risk, you should consider your physical health before diving into a program. Make sure to wear shoes that allow you to slide .

If you have a known lower-extremity injury or a history of ankle or knee problems , talk to a healthcare provider before trying Zumba, or start with a lower-impact version of the program, such as Zumba Gold or Aqua Zumba.

And if you're brand-new to dance choreography, don't overdo it and push yourself too hard. Give yourself time to master the movements at your own pace. Moving quickly or without coordination can lead to an increased risk of injury. The critical thing to remember is to ease yourself into a program and listen to your body, taking rest when needed.

Zumba is a fun, effective dance workout that is a good option for people who enjoy upbeat music and an energetic group exercise environment. Here's how it compares to other similar classes.

Jazzercise is the original dance-fitness class that took the world by storm in the 1980s and 1990s. While it experienced a bit of a resurgence in the 2010s, Jazzercise has yet to return to the popularity of its heyday.

That said, like Zumba, it offers choreographed dance moves to upbeat music in a fun, group environment. If you want the atmosphere of Zumba but don't feel comfortable with the booty-shaking vigor of Zumba's dance choreography, Jazzercise might be a mellower option.

BUTI Yoga is a workout that combines high-intensity exercise with African dance-inspired choreography and yoga flows. The nice thing about BUTI is that it really does hit all the bases for general fitness—you'll develop strength, flexibility, and cardiovascular endurance .

The program is also available online and through independent instructors at gyms and fitness centers, so you can access classes pretty much wherever you are.

That said, the movements are less appropriate for a general audience, making it more suitable for healthy adults with a solid baseline of fitness, rather than an older audience or those with known health issues or injuries.

Barre Classes

Barre fitness classes are popular programs most often available at boutique fitness studios. These workouts focus more on flexibility , muscular endurance , and core strength and less on cardiovascular fitness. Movements are slower and more controlled, and while the classes are choreographed, you're not trying to keep up with a series of fast-paced steps.

Barre workouts may be an excellent supplement to Zumba, as strength and flexibility are a greater focus. They're also considered a low-impact workout which can be a good option for beginners or those with known lower-extremity injuries. However, Barre classes often come at a higher price, ranging from roughly $15 to $35 per class.

A Word From Verywell

Zumba provides a fun, positive workout with options appropriate for all ages and ability levels. There's a lot of independent research to support the program's efficacy and not much to detract from its potential benefits.

However, if you don't like dancing, fast-paced choreography, or Latin-inspired music, Zumba might not be a good fit for you. If you're looking for an addictive, high-energy group dance workout set to upbeat music, Zumba is great.

Vendramin B, Bergamin M, Gobbo S, et al. Health benefits of Zumba fitness training: A systematic review . PM R . 2016;8(12):1181-1200. doi:10.1016/j.pmrj.2016.06.010

Araneta MR, Tanori D. Benefits of Zumba Fitness® among sedentary adults with components of the metabolic syndrome: A pilot study . Journal of Sports Medicine and Physical Fitness . 2014;55(10):1227-1233.

Delextrat AA, Warner S, Graham S, Neupert E. An 8-week exercise intervention based on Zumba improves aerobic fitness and psychological well-being in healthy women . J Phys Act Health . 2016;13(2):131-9. doi:10.1123/jpah.2014-0535

By Laura Williams, MSEd, ASCM-CEP Laura Williams is a fitness expert and advocate with certifications from the American Council on Exercise and the American College of Sports Medicine.

• Open access
• Published: 12 August 2024

Micropapillary breast carcinoma in comparison with invasive duct carcinoma. Does it have an aggressive clinical presentation and an unfavorable prognosis?

• Yasmine Hany Abdel Moamen Elzohery 1 , 5 ,
• Amira H. Radwan 2 , 5 ,
• Sherihan W. Y. Gareer 2 , 5 ,
• Mona M. Mamdouh 3 , 5 ,
• Inas Moaz 4 , 5 ,
• Abdelrahman Mohammad Khalifa 5 ,
• Osama Abdel Mohen 5 ,
• Mohamed Fathy Abdelfattah Abdelrahman Elithy 5   nAff6 &
• Mahmoud Hassaan 5   nAff7  

BMC Cancer volume  24 , Article number:  992 ( 2024 ) Cite this article

168 Accesses

Metrics details

Invasive micropapillary carcinoma (IMPC) was first proposed as an entity by Fisher et al. In the 2003 World Health Organization (WHO) guidelines for histologic classification of the breast tumors. IMPC was recognized as a distinct, rare histological subtype of breast cancer.

IMPC is emerging as a surgical and oncological challenge due to its tendency to manifest as a palpable mass, larger in size and higher in grade than IDC with more rate of lymphovascular invasion (LVI) and lymph node (LN) involvement, which changes the surgical and adjuvant management plans to more aggressive, with comparative prognosis still being a point of ongoing debate.

Aim of the study

In this study, we compared the clinicopathological characteristics, survival and surgical management of breast cancer patients having invasive micropapillary carcinoma pathological subtype in comparison to those having invasive duct carcinoma.

This is a comparative study on female patients presented to Baheya center for early detection and treatment of breast cancer, in the period from 2015 to 2022 diagnosed with breast cancer of IMPC subtype in one group compared with another group of invasive duct carcinoma. we analyzed 138 cases of IMPC and 500 cases of IDC.

The incidence of LVI in the IMPC group was 88.3% in comparison to 47.0% in the IDC group (p < 0.001). IMPC had a higher incidence of lymph node involvement than the IDC group (68.8% and 56% respectively). IMPC had a lower rate of breast conserving surgery (26% vs.37.8%) compared with IDC.

The survival analysis indicated that IMPC patients had no significant difference in overall survival compared with IDC patients and no differences were noted in locoregional recurrence rate and distant metastasis rate comparing IMPCs with IDCs.

The results from our PSM analysis suggested that there was no statistically significant difference in prognosis between IMPC and IDC patients after matching them with similar clinical characteristics. However, IMPC was found to be more aggressive, had larger tumor size, greater lymph node metastasis rate and an advanced tumor stage.

Peer Review reports

Introduction

Breast cancer is the most common cancer in women. In the 2012 World Health Organization (WHO) classification of breast cancer. Breast Cancer is classified into up to 21 different histological types depending on cell growth, morphology and architecture patterns [ 1 ]. The invasive carcinoma of no special type (IBC-NST), which is known as invasive ductal carcinoma (IDC), is the most frequently occurring histological type, which constitutes around 75% of invasive breast carcinoma [ 2 ].

Invasive micropapillary carcinoma (IMPC) was first proposed as an entity by Fisher et al. in 1980 [ 3 ] and first described as the term “invasive micropapillary carcinoma” by Siriaunkgul et al. [ 4 ] in 1993.

In the 2003 World Health Organization (WHO) guidelines for histologic classification of the breast tumors [ 5 ]. IMPC was recognized as a distinct, rare histological subtype of breast cancer. While micropapillary histological architecture is present in 2–8% of breast carcinomas, pure micropapillary carcinoma is uncommon and accounts for 0.9–2% of all breast cancers [ 6 ].

IMPC exhibits more distinct morphologic architecture than the IDC, characterized by pseudopapillary and tubuloalveolar arrangements of tumor cell clusters in clear empty sponge-like spaces that resemble extensive lymphatic invasion [ 7 ]. The neoplastic cell exhibits an “inside-out” pattern, known as the reverse polarity pattern [ 2 ].

Most studies demonstrate that the radiological findings of IMPC are irregular-shaped masses with an angular or spiculated margin on ultrasound, mammography and MRI with heterogeneous enhancement and washout kinetics on MRI [ 8 ].

IMPC had tendency to manifest as a palpable mass, larger in size and higher in grade than IDC with more rate of lymphovascular invasion (LVI) and lymph node (LN) involvement, which changes the surgical and adjuvant management plans to more aggressive, with comparative prognosis still being a point of ongoing debate [ 9 ].

In this study, we compared the clinicopathological characteristics, survival and surgical management of breast cancer patients having invasive micropapillary carcinoma pathological subtype in comparison to those having invasive ductal carcinoma.

Patient and method

This is a comparative study on female patients presented to Baheya center for early detection and treatment of breast cancer, in the period from 2015 to 2022 diagnosed with breast cancer of IMPC subtype in one group compared with another group of invasive duct carcinoma.

This retrospective study analyzed 138 cases of IMPC and 500 cases of IDC. Informed consent was obtained from all patients. Ethical approval is obtained from Baheya center for early detection and treatment of breast cancer and National research center ethics committee. Baheya IRB protocol number:202305150022.

The following clinical-pathological features were analyzed for each case: patient age at diagnosis, clinical presentation, laterality, imaging findings, histopathological examination, treatment plan with either primary surgical intervention or other treatment protocol according to tumor stage and biological subtypes.

A breast pathologist evaluated the tumor size, type, grade, lymphovascular invasion, estrogen receptor (ER), progesterone receptor (PR), human epidermal growth factor receptor 2 (HER2) receptor and the axillary lymph node involvement.

According to the ASCO/CAP guideline update, 2019: Samples with 1% to 100% of tumor nuclei positive for ER or progesterone receptor (PgR) are interpreted as positive. If ER (not PgR), 1% to 10% of tumor cell nuclei are immunoreactive, the sample are reported as ER Low Positive. There are limited data on the overall benefit of endocrine therapies for patients with low level (1%-10%) ER expression, but they currently suggest possible benefit, so patients are considered eligible for endocrine treatment. A sample is considered negative for ER or PgR if < 1% or 0% of tumor cell nuclei are immunoreactive [ 10 ]. An Allred score between 0 and 8. This scoring system looks at what percentage of cells test positive for hormone receptors, along with how well the receptors show up after staining, called intensity: proportion of cells staining (0, no staining; 1, < 1%; 2, between 1 and 10%; 3, between 11 and 33%; 4, between 34 and 66% and 5, between 67%–100% of the cells staining). Intensity of positive tumor cells (0, none; 1, weak, 2, intermediate; and 3, strong) [ 11 ].

HER2 Test Guideline IHC Recommendations, 2018. IHC 0: as defined by no staining observed or membrane staining that is incomplete and is faint/barely perceptible and within <  = 10% of the invasive tumor cells. IHC 1 + : as defined by incomplete membrane staining that is faint/barely perceptible and within > 10% of the invasive tumor cells. IHC 2 + : The revised definition of IHC 2 + (equivocal) is weak to moderate complete membrane staining observed in > 10% of tumor cells. IHC 3 + : based on circumferential membrane staining that is complete, intense in > 10% of tumor cells. [ 12 ].

ASCO–CAP HER2 SISH Test Guideline Recommendations,2018 Twenty nuclei (each containing red (Chr17) and black (HER2) signals) should be enumerated. The final results for the HER2 status are reported based on the ratio formed by dividing the sum of HER2 signals for all 20 nuclei divided by the sum of Chromosome 17 signals for all 20 nuclei. The amplification status is defined as Amplified if the HER2/Chromosome 17 ratio > / = 2.0 and the average Her2 gene copy number is > / = 4.0. It is non-Amplified if the HER2/Chromosome 17 ratio < 2.0 with the Her2 gene copy number is < 4.0. If the HER2/Chr17 ratio is < 2 and the Her2 gene copy number is between 4.0 and 6.0, or, HER2/Chr17 ratio is > / = 2 and the Her2 gene copy number is < 4, or HER2/Chr17 ratio is < 2 and the Her2 gene copy number is > / = 6.0, an additional work should be done. [ 12 ].

Follow-up duration was calculated from the date of diagnosis to the date of the last follow-up. Patients still alive at the last follow-up censored or to the date of occurrence of any event or death.

Disease-free survival was defined as the duration (months) from the initial diagnosis of breast cancer to first any type of recurrence (invasive ipsilateral breast tumor recurrence, local invasive recurrence, regional invasive recurrence, invasive contra lateral breast cancer, distant metastasis.

Overall survival (OS) is defined as the time from diagnosis of breast cancer to death from any cause.

Data were statistically analyzed using an IBM-compatible personal computer with Statistical Package for the Social Sciences (SPSS) version 23. Quantitative data were expressed as mean, standard deviation (SD) and range (minimum–maximum). Qualitative data were expressed as Number (N) and percentage (%), while A P value of < 0.05 was statistically significant. For comparison of unmatched data, chi-square tests were used for categorical variables and t-tests or Mann–Whitney tests for continuous variables.

In this study, we analyzed 138 cases of IMPC which presented to our center in the period from 2015 to 2022.We included a total number of 500 cases of IDC as controls with a ratio of controls to cases 4:1.

Propensity score matching (PSM) is a method for filtrating experimental and control cases of similar characteristics, which are called the matching variables, from existing data to make them comparable in a retrospective analysis. PSM reduce the effect of selection bias. So, the comparison of outcomes between two groups can be fair.

The variables for propensity score matching were selected as follows: age (years), tumour size (cm), nodal status, HR status and HER2 status.

To diminish the effects of baseline differences and potential confounds in clinical characteristics and patients across histology subtypes for outcome differences (disease-free survival and overall survival), PSM method was applied with each micropapillary patient matched to one IDC patient who showed similar baseline characteristics in terms of: menopausal status, comorbidities, multiplicity, histologic grade, tumor size, stage, nodal status, ER /PR status. Differences in prognosis were assessed by Kaplan–Meier analysis.

Most of the patients were postmenopausal, the mean age of patients in IMPC group was 57.36 ± 11.321 years while the mean age of the IDC group was 56.63 ± 9.719 years ( p  = 0.45) (Table 1 ).

The most common presentation of IMPC on breast mammography was an irregular shaped mass with a non-circumscribed spiculated margin. while, the most common sonographic finding of IMPC was hypoechoic mass with irregular shapes and spiculated margins. Associated microcalcifications were found in 49 patients (35.5%) of IMPC group. Figs. ( 1 , 2 ): Radiological characteristics of IMPC.

A , B 37-years-old female patient presented with Left breast UOQ extensive fine pleomorphic and amorphous calcifications of segmental distribution, with UOQ multiple indistinct irregular masses. C ultrasound showed left breast UOQ multiple irregular hypoechoic masses with calcific echogenic foci, the largest is seen at 1 o’clock measuring 13 × 15mm. Intraductal echogenic lesions are noted

A , B , C 40-years-old female patient presented with left UOQ extensive pleomorphic microcalcifications of segmental distribution reaching the areola, with multiple well-circumscribed small obscured masses. D , E complementary Ultrasound showed left 2 o’clock multiple ill-defined and well-defined hypoechoic masses (BIRADS 5)

All patients underwent axillary sonography where 77 patients (55.8%) of the IMPC group exhibited pathological lymph nodes and 18 patients (13%) had indeterminate lymph nodes demonstrating preserved hila and associated with either a symmetrical increase of their cortical thickness reaching 3mm or with a focal increase in the cortical thickness.

Multiple lesions were detected in 30% of IMPC patients in comparison to 7% of IDC patients. Intra-ductal extension with nipple involvement was found in 44 patients (31.9%) of the IMPC group (Table 2 ).

MRI was done for 5 cases (3.6%), while CESM was performed for 18 cases (13%) of the IMPC group, the commonest presentation of IMPC in contrast study was irregular shaped enhanced mass in 21 patients and non-mass enhancement was found in 5 patients. Figs. ( 3 , 4 ).

Further imaging modalities. A , B , C 60-years-old female patient had right breast irregular hypoechoic solid mass by ultrasound (BIRADS 5). D , E CESM showed a right breast irregular heterogeneously enhancing solid mass

Role of CESM in diagnosis of IMPC patients. A , B 42-years-old patient presented with a left LIQ irregular spiculated mass with suspicious microcalcifications, other similar lesions were seen anterior and posterior at the same line. C Ultrasound showed a heterogeneously hypoechoic irregular mass with a spiculated outline with multiple similar satellite lesions were seen anterior and posterior to the main lesions

The average tumor size in the IMPC and IDC groups was 3.37 ± 2.04 cm and 2.72 ± 1.39 cm, respectively ( P  < 0.001).

The percentage of tumors larger than 5cm, was reported 9.5% in IMPC and 7.4% in IDC.

The pure form of IMPC was the most common type and found in 90 cases (65%) and 47 cases (34%) were mixed type where IDC was the commonest associated type.

There are 6 cases in the IMPC group diagnosed as invasive mucinous carcinoma on biopsy, then in the specimen was mixed invasive micropapillary, IBC-NST and invasive mucinous carcinoma.

On core biopsy, 28 cases were diagnosed as IMPC with focal IDC component, but in corresponding specimens 10 cases were only approved to be mixed invasive micropapillary and invasive duct carcinoma, while others diagnosed as pure invasive micropapillary carcinoma without IDC component.

On the other hand, 48 of our cases were diagnosed as IDC on core biopsy, but in the final specimen examination, 17 of these cases were diagnosed as pure invasive micropapillary carcinoma without invasive ductal component.

The explanation of controversy in proper histologic subtyping of carcinoma on core biopsy and the definite subtype on the corresponding specimen was that the ductal component which only represented in the biopsy is a very minor component of the tumor or the limited sampling, tissue fragmentation and architecture distortion in core biopsy may cause diagnostic pitfalls as regard precise subtyping of the tumor.

The incidence of LVI in the IMPC group was 88.3% in comparison to 47.0% in the IDC group ( p  < 0.001).

IMPC had a higher incidence of lymph node involvement than the IDC group (68.8% and 56% respectively) with N3 stage reported in 12.4% of IMPC patients.

IMPC had a higher nuclear grade than the IDC group (25.1% and 15.2% respectively).

The percentage of ER-positive patients was 97.8% in the IMPC group and 87.6% in the IDC group ( p  < 0.001), while PR-positive cases were 98.6% in the IMPC group and 88.8% in the IDC group ( p  < 0.001). HER2 status was positive in 4.3% of IMPCs and 8% of IDCs ( p  = 0.23) (Table 3 ) (Figs. 5 ,  6 ).

A case of invasive micropapillary carcinoma. A case of invasive micropapillary carcinoma, grade II. A Tissue core biopsy, × 100, B MRM specimen × 100 with Positive metastatic L. nodes 2/15, C ER is positive in > 90% of tumor cells, × 100, D PR is positive in > 90% of tumor cells, × 400, E HER2/neu is negative, × 400 and F) Ki-67 labelling index is high, × 200. This case was considered as luminal type pure invasive micropapillary carcinoma. (100 micron 20__ 50 micron 40)

A case of invasive duct carcinoma. A case of invasive duct carcinoma, grade II. A Tissue core biopsy, × 100, B MRM specimen, × 200 with negative L. nodes 0/16, C ER is positive in > 90% of tumor cells, × 200, D PR is positive in > 90% of tumor cells, × 100, E HER2/neu is negative, × 400. This case was considered as luminal type pure invasive duct carcinoma

Regarding definitive surgical management, IMPC had a lower rate of breast conserving surgery (26% vs.37.8%) compared with IDC. While, 49.3% of IMPC patients underwent modified radical mastectomy in comparison to 46% of the IDC patients. Such high incidence of mastectomy was due to the advanced stage at presentation, presence of multiple lesions and presence of intra-ductal extension with nipple involvement.

The incidence of re-surgery in the IMPC group was only in 3 cases, two of them underwent completion mastectomy after the initial conservative breast surgery and axillary clearance. While one patient underwent wider margin excision as positive margin for an invasive residual disease was found.

Two patients in the IMPC group had distant metastasis at the initial diagnosis, they had multiple metastatic lesions and received systemic treatment but one of them underwent palliative mastectomy.

Systemic chemotherapy was administered to 107 patients (77.5%) in the IMPC group and to 207 patients (41%) in the IDC group. Hormonal therapy was administered to all IMPC patients and 76% patients in the IDC group (Table 4 ).

The overall median follow-up duration was 21 months (range 6 – 88 months) with mean follow up duration = 29.8months.

Among the 138 IMPC patients, local recurrence developed in 3 cases, they developed a recurrence at 6,18 and 48 months postoperative. Distant metastasis developed in 5 patients in the form of bone, lung, hepatic and mediastinal lymph node metastasis.

The survival analysis indicated that IMPC patients had no significant difference in overall survival compared with IDC patients and no differences were noted in locoregional recurrence rate comparing IMPCs with IDCs (2.2% and 0.4% respectively). P value for local recurrence = 0.12 (yates corrected chi square).

Distant metastasis rate comparing IMPCs with IDCs was (3.7% and 5.4% respectively). P value for distant metastasis = 0.53 (Table 5 ).

Comparison of OS between IDC and micropapillary cases (Matched by propensity score matching -PSM).

Case Processing Summary

Type	Total N	N of Events	Censored
			N	Percent
IDC	125	7	118	94.4%
Micropapillary	128	3	125	97.7%
Overall	253	10	243	96.0%

Type	Mean survival time
	Estimate	Std. Error	95% Confidence Interval
			Lower Bound	Upper Bound
IDC	84.596	2.314	80.061	89.131
Micropapillary	57.530	.844	55.876	59.185
Overall	85.807	1.633	82.606	89.008

Overall Comparisons

	Chi-Square	df	Sig.
Log Rank (Mantel-Cox)	.438	1	.508

• Test of equality of survival distributions for the different levels type

Disease free survival

Type	Total N	N of Events	Censored
			N	Percent
IDC	124	11	113	91.1%
Micropapillary	129	5	124	96.1%
Overall	253	16	237	93.7%

Type	Mean
	Estimate	Std. Error	95% Confidence Interval
			Lower Bound	Upper Bound
IDC	77.324	3.019	71.407	83.242
Micropapillary	56.062	1.355	53.407	58.718
Overall	78.725	2.333	74.152	83.299

	Chi-Square	df	Sig.
Log Rank (Mantel-Cox)	.380	1	.537

• Test of equality of survival distributions for the different levels of type

IMPC is a highly invasive type of breast cancer. Hashmi A.A. et al. [ 13 ] found that the incidence of IMPC is very low accounting for 0.76–3.8% of breast carcinomas.

Shi WB et al.; [ 7 ] in a study comparing 188 IMPC cases and 1,289 invasive ductal carcinoma (IDC) cases from China showed that IMPC can occur either alone or mixed with other histological types, such as ductal carcinoma in situ, mucinous carcinoma and IDC. Furthermore, the majority of patients had mixed IMPC.

Fakhry et al. [ 14 ] reported that 64.7% of IMPC patients were pure type. In our study, we found that the pure form of IMPC was the commonest type and presented in 90 patients (65%) and 47 cases (34%) were mixed type which was similar to that reported by Nassar et al. [ 15 ], and Guo et al. [ 16 ] in their studies.

In our study, the commonest finding of IMPC on breast mammography was an irregular shaped mass with a non-circumscribed spiculated margin. While, the commonest sonographic finding of IMPC was hypoechoic mass with irregular shapes and spiculated margins.

These findings were similar to the results demonstrated by Jones et al., [ 17 ] which found that the commonest morphologic finding of IMPC was an irregular high-density lesion (50% of patients) with spiculated margin (42% of patients). However, Günhan-Bilgen et al. [ 18 ] reported that an ovoid or round lesion was found in 53.8% of patients.

Alsharif et al., [ 19 ] reported that the commonest sonographic finding of IMPC was hypoechoic masse (39/41, 95%) with irregular shape (30/41, 73.2%) and angular or spiculated margin (26/41, 63.4%).

In our study, MRI was done for 5 cases (3.6%), while CESM was performed for 18 cases (13%) of the IMPC group, the commonest presentation of IMPC in contrast study was irregular shaped enhanced lesion in 21 cases and non-mass enhancement was presented in 5 cases.

Nangogn et al. [ 20 ] and yoon et al. [ 8 ] recorded that the commonest finding of IMPCs in MRI was spiculated irregular mass with early rapid initial heterogenous enhancement, indicating that the MRI findings correlated with the invasiveness of IMPC.

Fakhry et al. [ 14 ] conducted a study on 68 cases, out of which 17 cases underwent CEM. In all of these cases, the masses showed pathological enhancement, which was either in the form of mass enhancement (12/17 patients, 70.6%) or non-mass enhancement (4/17 patients, 23.5%). The majority of the enhanced masses were irregular in shape (11/12 patients, 91.7%).

All patients underwent axillary sonography and 77 patients (55.8%) of the IMPC group exhibited pathological lymph nodes; this percentage was similar to that recorded by Nangong et al. [ 20 ] which was 54.8% and lower than that recorded by Jones et al. [ 17 ] but higher than that of Günhan et al. [ 18 ] which were 67% and 38% respectively.

Günhan et al. [ 18 ] reported microcalcification in about 66.7% of the cases. In our study, associated microcalcifications were found in 49 patients (35.5%) of the IMPC group. Yun et al. [ 21 ] and Adrada et al. [ 22 ] showed a fine pleomorphic appearance (66.7% and 68%).

Hao et al. [ 23 ] compared the rate of tumors larger than 5cm, reporting 3% in IDC and 4.3% in IMPC. In our study, the rate of tumors larger than 5cm, was reported 7.4% in the IDC patients and 9.5% in the IMPC patients.

Yu et al., et al. [ 24 ] documented in a study comparing 72 cases of IMPC and 144 cases of IDC of the breast that IMPC had a higher nuclear grade than IDC (52.8% vs. 37.5% respectively). In our study, IMPC had a higher nuclear grade than the IDC group (25.1% and 15.2% respectively).

Verras GI et al.; [ 9 ] demonstrated that IMPC was an aggressive breast cancer subtype with a great tendency to lymphovascular invasion and lymph node metastasis. In our study, the incidence of LVI in the IMPC patients was 88.3% in comparison to 47.0% in the IDC patients ( p  < 0.001). Tang et al., [ 25 ] also reported that lymphovascular involvement was more common among the IIMPC group than IDC group, with a percentage of 14.7% compared to only 0.1% in the IDC group.

Also, Shi et al. [ 7 ] reported that LVI was detected in 74.5% of cases. Furthermore, the frequency of LVI was found to be greater in IMPC cases when compared to IDC cases. Jones et al., [ 17 ] recorded angiolymphatic invasion in 69% of cases.

Hashmi et al. [ 13 ] reported in his comparative study that nodal involvement was present in 49.5% of IDC patients and N3 stage was only 15.6% in IDC patients compared to 33% in IMPC patients. In our study, the percentage of lymph node involvement of IMPC and IDC patients were 68.8% and 56% respectively with N3 stage reported in 12.4% of IMPC patients.

Guan et al. [ 26 ], Lewis et al., [ 27 ], Pettinato et al., [ 28 ] and De La Cruz et al., [ 29 ] recorded a higher percentage of lymph node metastasis in IMPC patients, reaching 90%, 92.9%,55.2% and 60.9% respectively.

The management of IMPC remains controversial, particularly among breast surgeons. Modified radical mastectomy was the preferred surgical procedure for the majority of IMPC case reports, as found in a study conducted by Yu et al., [ 24 ] where 99% of IMPC cases underwent modified radical mastectomy. Fakhry et al. [ 14 ] reported that 76.5% of the patients underwent modified radical mastectomy. In our study, 49.3% of IMPC patients received modified radical mastectomy.

IMPC patients were also prone to accept BCS rather than mastectomy in the previous series conducted by Lewis GD,et al. [ 27 ] and Vingiani, A. et al. [ 30 ]. However, the precise prognosis value of BCS for patients with IMPC remained unknowable. In our study, IMPC had a lower rate of breast conserving surgery (26% vs.37.8%) compared with IDC.

IMPC was characterized by a high incidence of ER and PR positivity. Our study recorded a high percentage of ER (97.8%) and PR (98.6%) expression. Our findings are similar to those found by Walsh et al., [ 31 ] who reported ER and PR expression of 90% and 70%, respectively. Zekioglu et al. [ 32 ] demonstrated a rate of ER and PR expression of 68% and 61%respectively.

In this study, we reported a relatively lower percentage of HER-2 positivity (4.3%). Also, Nangong et al. [ 20 ] showed HER 2 overexpression in 26.4% of cases.

However, Cui et al. [ 33 ] reported a much higher incidence of HER 2 positivity and Perron et al., [ 34 ] reported that 65% of IMPCs were HER-2 positive.

Chen, A et al. [ 35 ] reported that that the percentage of radiation therapy for IMPC patients was similar to those seen in IDC patients and demonstrates a similar benefit of radiation treatment in both groups. In our study,77.5% patients received radiotherapy in IMPC group in compared to 59.4% patients in IDC group.

Shi et al. [ 7 ] found that patients with IMPC had worse recurrence-free survival (RFS) and overall survival (OS) rates as compared to those with IDC. However, because IMPC is relatively rare, most studies had reported on small sample sizes with limited follow-ups.

Yu et al., [ 24 ] conducted a comparison between IMPC and IDC patients, and the results showed that the IMPC group had a greater tendency for LRR compared to the IDC group ( P  = 0.03), but the distant metastasis rate ( P  = 0.52) and OS rate ( P  = 0.67) of the IMPC showed no statistical differences from the IDC group.

Nevertheless, several recent studies documented that IMPC had better or similar prognosis in comparison to IDC.

Hao et al. [ 23 ] and Vingiani et al. [ 30 ] documented that there was no statistically significant difference in OS and disease-free survival between IMPC patients and IDC patients which was similar to our results. locoregional recurrence rate comparing IMPCs with IDCs was (2.2% and 0.4% respectively). P value for local recurrence = 0.12 (yates corrected chi square). Distant metastasis rate comparing IMPCs with IDCs was (3.7% and 5.4% respectively). P value for distant metastasis = 0.53.

Chen H et al. [ 36 ], compared the overall survival in patient groups with similar nodal involvement and found that IMPC group had better breast cancer–specific survival and overall survival than IDC group.

Availability of data and materials

No datasets were generated or analysed during the current study.

Abbreviations

Invasive micropapillary carcinoma

Invasive duct carcinoma

Modified radical mastectomy

Conserving breast surgery

Estrogen receptor

Progesterone receptor

Lymphovascular invasion

Contrast enhanced spectral mammography

Overall survival

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Mohamed Fathy Abdelfattah Abdelrahman Elithy

Present address: Department of Surgical Oncology, Faculty of Medicine, Al Azhar University, Cairo, Egypt

Mahmoud Hassaan

Present address: Departement of Surgical Oncology, National Cancer Institute, Cairo University, Giza, Egypt

Authors and Affiliations

Department of General Surgery, Faculty of Medicine, Ain Shams University, Cairo, Egypt

Yasmine Hany Abdel Moamen Elzohery

Department of Radiodiagnosis, NCI, Cairo University, Giza, Egypt

Amira H. Radwan & Sherihan W. Y. Gareer

Department of Pathology, National Cancer Institute, Cairo University, Giza, Egypt

Mona M. Mamdouh

Department of Epidemiology and Preventive Medicine, National Liver Institute, Menoufia, Egypt

Baheya Center for Early Detection and Treatment of Breast Cancer, Giza, Egypt

Yasmine Hany Abdel Moamen Elzohery, Amira H. Radwan, Sherihan W. Y. Gareer, Mona M. Mamdouh, Inas Moaz, Abdelrahman Mohammad Khalifa, Osama Abdel Mohen, Mohamed Fathy Abdelfattah Abdelrahman Elithy & Mahmoud Hassaan

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Mohamed fathy participated in the sequence alignment and Yasmine hany drafted the manuscript. Mahmoud Hassan participated in the design of the study. Inas Moaz and Abdelrahman Mohammad performed the statistical analysis. Amira H. Radwan and Sherihan WY Gareer conceived the study. Mona M Mamdouh and Osama abdel Mohen participated in its design and coordination and helped to draft the manuscript. All authors read and approved the final manuscript.

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Correspondence to Yasmine Hany Abdel Moamen Elzohery .

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Elzohery, Y.H.A.M., Radwan, A.H., Gareer, S.W.Y. et al. Micropapillary breast carcinoma in comparison with invasive duct carcinoma. Does it have an aggressive clinical presentation and an unfavorable prognosis?. BMC Cancer 24 , 992 (2024). https://doi.org/10.1186/s12885-024-12673-0

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Published : 12 August 2024

DOI : https://doi.org/10.1186/s12885-024-12673-0

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Cornell Hospitality Pitch Deck Competition Official Rules and Guidelines

The Leland C. and Mary M. Pillsbury Institute for Hospitality Entrepreneurship at the Cornell Nolan School of Hotel Administration sponsors the Cornell Hospitality 1 Pitch Deck Competition. This competition is an experiential learning opportunity for student entrepreneurs contemplating, starting, or operating an early-stage venture who are looking to improve their pitching skills with the potential to earn seed funding for their venture.

Students register for the competition in early fall and submit their pitch decks in October for review by a team of industry judges. Four finalists will be selected to present in November to a panel of industry judges. The winning team will be awarded a prize of $3,000, second place will be awarded a prize of $1,500, and the third place team will be awarded a prize of $500. ** All prizes subject to tax withholding as required by IRS regulations .

1 “ Hospitality business” for the purpose of this competition is purposefully broadly defined and includes businesses providing support services to the hospitality industry (e.g., businesses such as Micros Systems that provide software and hardware to restaurant and lodging businesses).

Entering and Important 2023 Deadlines:

Thursday, september 21, 2023 by 11:59 p.m. est.

• Register Team to compete via Reviewr

Tuesday, October 3, 2023, 7-8 p.m. EST

• Virtual Instruction Session with Prof. Quagliata via Zoom

Friday, October 13, 2023 by Noon EST

• Submit Reading Pitch Deck via Reviewr

Tuesday, October 24, 2023

• Four finalists selected and invited to participate in Pitch Deck Final Presentation

Sunday, November 5, 2023 by 5 p.m. EST

• Finalists to submit Presentation Pitch Deck via Reviewr

Tuesday, November 7, 2023 at 5 p.m. EST

• Pitch Deck Final Presentations to panel of judges (in front of audience)
• Winners announced and prizes awarded (at reception following the event)

Team Eligibility Criteria

• Teams consisting of no more than two full-time Cornell University undergraduate and/or graduate students are eligible. At least one the member of each team must be a Nolan School of Hotel Administration student.
• Students must be in good academic standing (i.e., GPA not less than 2.0).
• Students may be members of only one team.
• For finalists to be eligible to win, all team members must be present for the final presentations.
• Teams are encouraged to seek advice and counsel from successful entrepreneurs, professionals, and experts, but teams must present only their own work product.

The Cornell University Honor Code applies to all aspects of the Competition

  Requirements for the Business Idea

• The objective of the Pitch Deck Competition is to provide an experiential learning opportunity to student entrepreneurs looking to practice pitching a hospitality business idea. As such, most ideas entered in the Competition will be ideas for new independent ventures in the seed, start-up, or early growth stages. Generally excluded are the following: buy-outs, expansions of existing companies, real estate syndications, tax shelters, franchises, licensing agreements for distribution in a different geographical area, and spin-outs from existing corporations. Licensing technologies from universities or research labs is allowed, assuming they have not been commercialized previously.
• Ideas should be drawn from the hospitality sector. For the purpose of this Competition, “hospitality” is purposefully broadly defined and includes businesses providing support services to the hospitality industry (e.g., businesses such as Micros Systems that provide software and hardware to restaurant and lodging businesses).
• The hospitality business ideas pitched may be for both for-profit and non-profit ventures.

  Other Requirements

• All author(s) of the pitch decks must agree that the work they are submitting is their original work. The author(s) will retain all rights to the pitch decks regarding its use at all times prior to and following the Competition.
• By participating in the Competition, author(s) give the Competition organizers the right to post the pitch decks and/or videos on a password protected website in order for reviewers/judges to access the items, post comments, and assign numerical scores to the submitted items based on an established rubric.
• Finalists are required to sign a waiver allowing the Pillsbury Institute the express right to photography, videotape, record, live-stream, and otherwise disseminate their Pitch Deck Presentation, and all finalist author(s) will be asked to sign a photo/video release form allowing Cornell University to use the Pitch Deck Presentation recording and Pitch Deck Presentation materials within the University for faculty, staff, students, and the Pillsbury Institute for educational purposes. In addition, final presentation videotapes may be posted on the Nolan School of Hotel Administration website for public consumption.
• Finalists are required to sign a money allocation agreement prior to the Pitch Deck Final Presentation. The agreement is meant to prevent any possible disagreements regarding division of money amongst team members after the competition winners are announced.
• Non-confidentiality: Some aspects of the competition, including but not limited to oral presentations and question/answer sessions, are open to the public at large. Any and all of these sessions may be broadcast to interested persons through media, which may include radio, television and the Internet. Any data or information discussed or divulged in public sessions by entrants should be considered information that could possibly enter the public realm, and entrants should not assume any right of confidentiality in any data or information discussed, divulged, or presented in these sessions. Due to the nature of the competition, we are not able to ask judges, reviewers, staff, or the audience to agree to or sign non-disclosure statements. However, the Pillsbury Institute will make every effort to limit distribution of pitch decks presented at the competition. We cannot guarantee that other individuals will not obtain access to electronic or hard copies of the pitch deck. The Pitch Deck Final Presentation, whether in person or virtual, will be open to the public and will be recorded.  Attendance by media personnel is expected and final presentations will be posted on the Nolan School of Hotel Administration website for public consumption.
• Copyrights & Permissions: If a team uses copyrighted materials and/or images from a third-party in their presentation or business plan, they must obtain permission and authorization in advance from the owners to use this material.

Pitch Deck Competition Guidelines

  Building a pitch deck is one of the best ways to grab your audience’s attention and answer key questions about your business idea. Pitch decks help people to understand, care about, and take action. Two of the most common types of pitch decks are reading decks and presentation decks. Reading decks are documents that can be read and understood without the author present. Presentation decks serve as visual support for an entrepreneur’s presentation. This competition provides students the opportunity to experience creating both types of pitch decks.

The first round of the competition requires students to prepare a Reading Pitch Deck. Submissions are due by Noon EST on October 13, 2023 . Please submit via Reviewr and name your file using the following format: ReadingDeck_TeamName.pdf

Four teams will be selected to compete as Finalists. Teams will be notified of whether they are invited to advance in the Competition by October 24, 2023 .

Finalist will submit a Presentation Pitch Deck prior the Pitch Deck Competition Finals on Sunday, November 5, 2023 by 5:00 p.m. EST .

Reading Pitch Deck Guidelines

Decks must be limited to 11 slides. Participants should determine how best to communicate their business idea. Do not embed links, include text in the notes field, or include appendices. Teams that do not follow these rules will be disqualified.

  Presentation Pitch Deck Guidelines

Presentation Pitch Decks are limited to 11 slides and up to 5 Q&A slides. Each invited team is required to submit a Presentation Pitch Deck and may choose to submit an updated Reading Deck no later than Sunday, November 5, 2023 by 5:00 p.m. EST .

The Reading Pitch Deck can be in PDF form, but the Presentation Pitch Deck should be in PowerPoint. Electronic copies should be submitted via Reviewr and should be named according to the following format:

• FinalReadingDeck_TeamName.pdf
• PresentationDeck_TeamName.ppt

Any team that does not submit their materials by this date will be disqualified.

Oral Presentation Guidelines

  The Final Presentations will be delivered to a panel of judges in front of a live audience. The teams in the Final Presentations will have 10 minutes to present their hospitality business idea followed by a 5-minute question and answer session from the panel of judges. Teams can assume that the judges have read their Reading Pitch Decks. Once a team has finished its presentation, it may observe both the presentation and Q&A session of the teams that follow it. Teams may NOT observe other presentations until after they have made their own presentations. The order of presentation will be determined randomly.

Detailed scheduling for the Final Presentations will be provided to the teams later in the Competition. The Final Presentation Pitch Deck will be loaded onto a USB to be used during the Final Presentation. Teams may also demonstrate a prototype of their product during the Final Presentation (including a food sample if that is the product). They may NOT bring other materials for the judges such as handouts, etc. Teams are NOT REQUIRED to use materials in the Final Presentation.

The results of the competition will be announced during a reception immediately following the Pitch Deck Final Presentations.

Judges and Judging Criteria

  Judges for the competition will be comprised of faculty, alumni, investment professionals, venture capital and private equity investors, and entrepreneurs.

Judges will score the teams’ deliverables using their judgment with respect to specific competition criteria, as summarized below. The teams receiving the highest collective scores on the Reading Pitch Deck will advance to the Final Round. The winner of the Competition will be determined by the Final Presentation judges’ ranking of the teams. These rankings will be based on the judges’ assessment of both the Reading Pitch Deck and the Final Presentation (including Presentation Pitch Deck). The competition is intended to simulate the real-world process of entrepreneurs soliciting start-up funds from early-stage investors. Thus, the winning team will be the one whose deck and presentation clearly communicates an innovative hospitality business.

Competition criteria that the judges will consider in their assessments include but are not limited to:

Identifies a significant problem/opportunity; presents novel solution within the hospitality industry; likelihood the idea will make an impact (i.e. financial and/or social value); each claim is supported; data is sufficiently interpreted; graphics well-incorporated into the argument.	Identifies a significant problem/opportunity; presents novel solution within the hospitality industry; likelihood the idea will make an impact (i.e. financial and/or social value); claims are supported.
Clear structure of each page; a specific point is developed on each page; argument is easy to follow – good visual and logical direction on each page, and between pages.	Clear overview (idea presented at the start); organization is logical and easy to follow; clear connection made between claims and evidence; strong closing.
Good balance of verbal and visual elements, good skim value; white background, professional color scheme, high resolution images; consistent fonts and font sizes (20 to 28 point for headings, 11 to 14 point for text); visual elements and graphics are professional and add to the logical argument, no unnecessary illustrations.	Slides appropriately support message; slides are clear and attractive; slides include limited text (all >20 point) and meaningful graphics.
Clear, concise, and professional language; argument is crafted with credibility – strong evidence, varied and properly documented sources; ethical data displays; no errors in spelling, grammar, punctuation, usage, and proofreading.	Appropriate presentation style and tone for the message; credible, authentic, and transparent; professional but natural, conversational style; consistent in team delivery – similar volume, pace, etc. for both members; good eye contact – no reading off slides; good use of pauses (no fillers); professional handling of questions during Q&A.

The decisions of the judges in each round of the Competition are final. Judges may alter prize amounts. If no submissions are deemed worthy, no financial awards will be made.

Advisor Guidelines

Advisors are available to teams through the Pillsbury Institute’s Entrepreneur in Residence program.  Teams must provide all advisors with the competition’s advisor guidelines (i.e., the “dos and don’ts”).  Teams must also report the names of their advisors when submitting deliverables.

  Do’s: Activities that are Encouraged

• Do respond to questions and concerns from teams.
• Do read and give constructive feedback on each aspect of the Reading Pitch Deck.
• Do suggest other resources or individuals with whom teams can consult.
• Do identify weaknesses in the hospitality business idea that may concern investors and suggest ways of dealing with these concerns.
• Do listen to and provide critical feedback on teams’ Pitch Deck Presentations.
• Do keep the Pitch Deck confidential except if asked to distribute it by the team.

Don’ts: Activities that are Discouraged

• Don’t write or re-write any part of the Reading or Presentation Pitch Deck. These documents should be the work product of team members only.
• Don’t substantially steer the development of the hospitality business idea or take leadership of the team.
• Don’t, if advising more than one team, discuss information about or your advisory activities for one team with the other team.
• Don’t discuss the team’s work with individuals involved in judging the Competition.
• Don’t distribute the Reading or Presentation Pitch Deck to others without permission of the team or use the information or hospitality business ideas in it for purposes other than acting as an advisor in the Competition.

Questions about rules and guidelines can be directed to Andrew Quagliata, [email protected] .

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