Of these, the Kenyah-Kayan tradition is among the most aesthetically accomplished. Named for the Kenyah and Kayan peoples among whom it originated, it is found among the Kenyah, Kayan, Bahau, Modang, and related groups in the interior of Borneo, although some of its stylistic influences extend as far as the coast. Kenyah-Kayan art is characterized by a sinuous blending of plant and animal forms that often brings to mind Norse or Celtic art of Europe. Both sexes contribute to the artistic life of the community. Men traditionally work materials such as wood, antler, and metal.
Women work in beads and fiber.
While some Kenyah-Kayan art forms, particularly those associated with warfare, are no longer produced, others, including carving and beadwork, continue. Although Christianity has become widespread in the interior, masking traditions persist, and many young mothers still carry their children in distinctive beaded baby carriers adorned with designs that afford protection from harmful spirits. Death and Life in the Longhouse Most of the indigenous peoples of Borneo live in massive communal structures known as longhouses. Essentially a village under a single roof, a longhouse can be up to 300 yards in length and house dozens of individual families. Within the longhouse community, gender roles are conspicuous.