Jojo Siwa, a name synonymous with glitter, bows, and high-energy performances, has recently stepped into a new era with her single “Karma.” While Siwa aimed for a mature, edgier image, the release has been met with a wave of criticism, going viral for reasons perhaps unintended. Instead of the anticipated praise, “Karma” has become a subject of mockery and critique, leaving many to question what exactly went wrong. Let’s break down the elements that have sparked this widespread reaction to the “Jojo Siwa Karma Dance” and song.
One of the most immediate points of contention is Siwa’s dancing in the “Karma” music video. Having risen to fame on “Abby Lee Miller’s Dance Moms” and later showcasing her skills on “Dancing with the Stars,” Siwa’s dance background is undeniable. However, in “Karma,” her choreography has been described as awkward and jarring, especially when contrasted with her professional backup dancers. The question arises: how did a seasoned dancer, known for her stage presence, deliver a performance that many find “painful to watch”? Critics point out that while her backup dancers execute the moves with fluidity and control, Siwa’s rendition appears forced and exaggerated, even seemingly undermining the choreography itself. This disconnect between her dance pedigree and the execution in “Karma” has fueled much of the online commentary surrounding the “jojo siwa karma dance”.
Beyond the visuals, the song itself and Siwa’s vocal performance have faced scrutiny. It was revealed that “Karma” was originally written for another artist, Britt Smith, back in 2012. This revelation sparked controversy when Siwa allegedly failed to acknowledge the song’s origins, giving the impression that it was a wholly original creation. While reusing songs is not uncommon in the music industry, the lack of transparency and Siwa’s purported claim of ignorance about Britt Smith have drawn criticism. Furthermore, Siwa’s vocals have been a frequent topic of discussion. Often showcasing her raw singing voice online, these snippets have been met with predominantly negative feedback. While autotune is heavily utilized in “Karma,” the underlying vocal performance still contributes to the overall negative reception. The disconnect between pursuing a singing career despite public opinion and the final product in “Karma” has left many perplexed and critical of her artistic direction.
Adding another layer to the controversy is Siwa’s attempt to brand a new music genre, “Gay Pop,” with “Karma” as its supposed launchpad. While embracing her identity and expressing it through music is commendable, her claim to be pioneering “Gay Pop” has been widely contested. Critics and fans alike were quick to point out the rich history of LGBTQ+ artists who have paved the way for openly queer performers like Siwa. Icons such as David Bowie, Queen, Elton John, and more contemporary artists like Lil Nas X, Sam Smith, Girl in Red, and Chappell Roan have all contributed significantly to queer representation in music long before “Karma.” Siwa’s assertion, therefore, seemed to disregard this established legacy, leading to accusations of historical erasure and a lack of awareness. Moreover, her public persona and statements surrounding the song have been perceived by some as immature, further contributing to the negative narrative surrounding the “jojo siwa karma dance” era. Her comments about wanting an ex-partner on her podcast for “drama,” instead of engaging with her musical idols, as she had previously mentioned, have reinforced this perception of immaturity in the eyes of the public.
In conclusion, the backlash against “Karma” is multifaceted. It’s not solely about the song’s quality, which is subjective, but rather a combination of factors. These include the perceived disconnect between Siwa’s dance background and her “Karma dance” performance, questions surrounding the song’s originality and her vocal delivery, and the controversial claim of initiating “Gay Pop” while seemingly overlooking LGBTQ+ music history. Combined with perceived immaturity in her public statements, these elements have converged to create a critical response that extends far beyond typical music reviews. What are your thoughts on Jojo Siwa’s “Karma” and the surrounding discussions?
