Guru Surendra Nath Jena ‘s Odissi Dance Style-

Guru Surendra Nath Jena’s dance style, is a kaleidoscopic vision, a coming together of various ways of Indian knowledge traditions: the exquisite temple sculptures of the Lingaraj, Jagannath Puri, Konark and Chausatha Yogini temple etc, Indian philosophy of the Upanishads, pattachitra and talapatra paintings of Odisha, ancient texts and scriptures, and a deep experience of rural Oriya culture and folklore. Guru Jena more importantly, infused his dance style with soul, bhakti and bhaav as he taught this unique Odissi style at the Triveni Kala Sangam, New Delhi,

Training and Performance Offered

Classical Indian Theatre Acting,  Chhau Dance and Odissi Dance

Training in Indian Classical Drama

Indian Classical Movements are based on different styles of classical dance and traditional folk dance. Mostly the classical Dance, 
drama and music is connected with Yoga. Body, mind and soul combine to produce a wide variety of artistic expressions which use movement to portray emotions, tell stories and depict the changing aspects of life in the world. Music connects us with the universal energy of rhythm and melody, which is a global language that crosses all cultural barriers.

The Chau dance, often performed with 
mask, is based on a martial art style of movement and also movements taken from the nature like different types of walking of birds and animals, the waves of ocean etc. The speed of a movement taken from nature may reflect the mood or character in drama. Dialogue and music are integrated with powerfully expressive sequences of group or solo movement to set a scene and enact a story.

According 
to NatyaShastra, an ancient Indian  text about Classical Dance, Drama and Music, describes  four types of Abhinaya (Acting) : Angika (Body), Vachika (Music and Dialogue), Aharya (Costumes) and Satvika (Expressions). To depict various characters we use Angika, the body, Hand Jestures, walking movements, turns, jumps and poses. The nine Rasas, or emotions, are used to express every human feelings, which makes the traditional Indian Classical Dance form come to life .

These type of movements from Chhau dance I use in my drama.
Ialso teach how to create body movements with using  different rhythm, mudras (Hand Gestures’), sentiments, in theatre. 

Introduction of Seraikella Chhau

Chhau Dance literally means Chhaya in sanskrit (shadow), it is a mask dance originally evolved in Sareikella, in Odisha. Now Sareikella is in Jharkhand. This dance is celebrated annually in the month of Chaitra (March –April)  spring season in honour of lord Bhairav or Shiva.

Along with this 
ritualistic back ground, the dance has its origin in “Pharikhanda’(with shield and sword)  an important part of the  Paikas. The paikas were the martial art practitioners who protect or attack for their defiance in villages of Odisha, uses only sticks. Phari means shield and khanda means sword. Traditionaly ‘Parikhanda’ exercises are performed by the people in front of the temples at the bank of the river to lord Shiva with the image of Panchmukhi Mahadev.

The dance is marked for its highly stylized mask. The design and the conception of the 
mask has vitally contributed to the dance movements and choreography. There is close and integrated relationship between the mask and movements. The mask determines the nature of the movements and the movements determine the design and conception of the mask.

The dancers wearing the mask swing their body and gide 
in semi trance movements. The movements acquire a mystic quality. The dancer display a great sense of drama by sudden and abrupt turns and twists of the body, and tilted of their neck. There is a controlled and regulated flow of energy. The picture of the dance that emerges has the poetic charm and delicacy of medieval miniature paintings. The themes of Sareikella chhau as in the other styles are taken from epics, puranas and scenes from everyday life and aspects of nature.

The music of the dance is based on the ragas or on the compositions of the medieval Oriya poets.