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Press Comments:

“The highly individualistic style of Guru Surendranath Jena, influenced by the Tantra and temple sculpture, is not widely prevalent, its best exponent being the Guru’s daughter Pratibha Jena.”

     --- INDIAN CLASSICAL DANCE; Tradition in Transition, 2007  Leela Venkataraman

 "As a teenager he joined a travelling folk theatre troupe and his choreography has always displayed a distinctly earthy element… Surendra Nath Jena’s teaching and workshops have been greatly appreciated in the USA. His three daughters Pratibha, Rekha and Rama and son Nirmal are also dancer-teachers. “

---INDIA’S DANCES, Their History, Technique and Repertoire, 2004, Raginold Massey

 “Ancient India comes to life when Pratibha Jena dances. Every gesture of her arms, hands and fingers means something. Every movement represents the spirit of an Indian god or goddess or communication with them…”

             --- DAY & NIGHT-ARTS, Kyiv, Ukraine, Tiffany Moysey-Post, January 2002

“Surendranath Jena’s style is an example of defiant individuality against all the collective definitions of Odissi… The acute deflections, carved sculpture freezes, the sudden mood changes and an entire dance language seemingly emerging from a desire to emulate poses in sculpture, is totally unconventional in every respect and yet there is no denying that the Guru’s vision is neither meek nor lacking in quaint aesthetics of its own.“

                                    ---THE HINDU, December 2001, Leela Venkataraman

“…Within immensely detailed, strict aesthetic codes of execution, each sculptural piece and performance still manages to convey an unspoken power. It is refreshing to see this quality in the Jena style in Sydney today…”

 ---TAASA REVIEW, The Journal of the Asian Arts Society of Australia, Vol.4,

December ’95, Rebecca Cook

“Guru Surendranath Jena is noted all over India to introduce a new style of dance, beauty and lyricism in Odissi dance. Under this great Kala Guru this heritage has been refined and perfected in contemporary form…”

 ---JOURNAL OIF VEDIC HERITAGE, New York, USA, August ’86

“Needless to say, many other creations followed, all impregnated with realism. His figurative style is not always accepted by Odissi gurus, all of whom claim to represent the genius tradition. But, despite disagreements on what is pure Odissi, the form keeps growing and blossoming. Surendra Nath Jena has given his special style a subtle and sensuous beauty which is the essence of Odissi. “

---THEINDIA MAGAZINE, August ’86, Marie-Elyane Guillame

"Guru Jena’s choreography is graceful, creative and innovative within the framework of the Odissi style. “

---THE HINDUSTAN TIMES, May ‘84

"Altogether different and equally valid was Kamboj Pallavi breaking away from the usual pattern of bunches of nritta punctuated by taala and weaving an amazingly rich fabric of movements… Yet another departure from the usual Orissi choreography was excellent Dasavatara, full of extraordinary visual motifs… Ashtapadi Rati Sukh Sare also gave evidence of new veins of choreographic richness…”        

---THE HINDUSTAN TIIMES, ’76, Shanta Serbjeet Singh

“Guru Jena presents authentic Odissi…”

                                                ---THE TIMES OF INDIA, April ’75

“’It’s almost as though the sculptures just stepped out and came alive!’ …Even the critics and the cognoscenti cannot avoid this reference when talking ecstatically about a particular Orissi performance. Every ‘Karana’ (stylized pose) is directly incorporated from a similar stone relief from the ornately carved Orissan temples.”

                                                --- MONSOON, The Magazine, ’69, Usha Chettur

 

 

 

 

 

 

 

 

 

 

 

 

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