Petter Jacobsson and Thomas Caley have worked and collaborated together since 1997. The company Scentrifug was founded in 2004, it is a project based contemporary dance company producing stage performances, events, films, operas, installations and workshops. Scentrifug has produced and presented over twenty works in Sweden and internationally from New York, Berlin, London to Tokyo. Recent productions include No mans land – no lands man for Kulturhuset, Stockholm, Flux for the gallery Färgfabriken, Stockholm and Untitled partner for Moderna Dansteatern Stockholm. Paradise? with 32 extras premiered at Moderna Dansteatern and was performed by Skånes Dansteater in Malmö 2008. 

Also to critical acclaim, In nooks and crannies 1999 and 2000, a performing arts installation for The Royal Opera house in Stockholm with its’ tradition from 1773. This large happening incorporated and integrated the Royal Ballet, Opera and Orchestra, exposing unusual private and public interiors as performance spaces. We received a "Gold mask" for best Choreography in 2003 for “Chess the musical. Our dance video art has been presented at international festivals in Basel, Barcelona, Tokyo, Durham North Carolina and Breil. Process - Our process and dance making begins with a group of questions, or maybe a picture, a text, or maybe a lot of maybes. Time plays a crucial role in our practise, as we are serious about allowing for the time it takes to immerse oneself in an idea. The questioning of an idea over a longer period of time, with the tools/articles we amass over that time, is essential in the then questioning, editing and reducing of the process more specifically to the given works intentions. This practise is intended to colour our choices, allowing the structural concepts to remain a living morphing form. It is about renewal. The process of creation is renewal. We try not to approach each dance with the same form to answer the question at hand with the same tools. The answer (an educated guess) (the work itself) must be akin to the questions brought up under the process. It is of interest that each project finds its’ own mode of expression not fitting into a prescribed, known or tried path. This feels of acute importance in the field of dance/performance, as the necessary embodying of the work and its’ processes can lead, if not lead away, to a dead-end of ones own aesthetic values. The specific character of each piece and its’ process dictates also its’ end form, from a set work of specific choreographed movements to works with a clearly choreographed form but with an open practiced dance. Valuing the flow in a cycle of events, or dramaturgy, is the aim of our practise, allowing for the new and uncharted to arise. Our recent work has also included a focus on video and the use of the room as well as other alternative spaces as performance space - arriving at an almost “anti dance dance form. This idea of “anti dance is not to say without movement, as we are very interested in what the moving physical body has to offer. It is rather the idea of a dance performance which includes and unifies multiple disciplines giving them equal value and importance. Scentrifug is at present funded in part on a per project basis from The Swedish National council for Cultural Affairs and The Culture Department of Stockholm. (Quelle: egd