His mother, who came from a family of local singers and Jatra actors, recognized Jena's potential and enrolled him in Asura Matha, a nearby institution focused on teaching dance and drama, when he was seven years old.

Their performances, which lasted throughout the night, were characterized by rigorous rehearsals and minimal resources, including limited financial means and food supplies.

She provides training in the intricacies of this traditional Odissi style at the Triveni Kala Sangam, New Delhi, as well as at dance schools in Russia and Ukraine.

Guru Surendra Nath Jena dedicated the initial five years to studying this revived style, which was reconstructed based on the accounts of former Devadasis/Maharis and gotipuas (young boys impersonating female dancers who replaced the Maharis).

Jena upheld the traditional belief that devotion (Bhakti) finds manifestation through dance and music, considering them as forms of spiritual practice (Sadhana).

[4] Surendra Nath Jena's style of Odissi dance is characterized by its uniqueness, dynamism, and spiritual devotion, drawing inspiration from the rich heritage of temple sculpture in Odisha.

This style has evolved through Jena's exploration of the parallels between the imagery found in Odisha's rural life and various traditional art forms such as Jatra, Pattachitra scrolls, Talapatra paintings, and ancient texts.

Additionally, Jena's choreography is influenced by the architectural magnificence of Odisha's renowned temples like Konark, Lingaraj, and Jagannath Puri, as well as the Chausat Yogini shrines.