Tan Wei Kheng, the intrepid artist-guest warrior of indigenous tribes in Sarawak, met his elderly Kayan warrior in a Kayan longhouse (long liam) in the upper Baram River. He was in full tribal regalia, doing a ritual dance of ngajat with the carved totem. Long knife in hand and with a decorated shield in defence, the wizened warrior is poised for any eventuality, or incursion by rival tribes or animals. A Norma Desmond, perhaps, reliving the glory of a head-hunting past long gone? In the harsh survival of the jungle, the hunter can become the hunted, and they live life on tenterhooks. The minority Kayan, who are part of the larger Dayak group, are concentrated in the middle reaches of the Baram, Bintulu and Rajang rivers, and especially in Sungai Asap in Belaga, and much displaced by the construction of the Bakun Dam. They were previous head-hunters and had learnt to live and let live with the others like the Ibans. It is estimated that they are some 43,000 Kayan left in Sarawak. Some have embraced Christianity, but they still observe their festivals like the Do Ledoh harvest festival honouring their deity Bungan in May. Tan Wei Kheng, in his regular expeditions into the interiors of Sarawak, put the faces of indigenous tribes with their itinerant lifestyles and old-world charm on to the world stage. It all started from a hugely successful exhibition, Nostalgia of Tribal Borneo, at the Gallery Avanthay Contemporary in Zurich, Switzerland, in 2009, followed by solo exhibitions in Brunei, Sarawak and Kuala Lumpur, and through Richard Koh Fine Art, art fairs in the region, making for extraordinary anthropological and fine art studies.