In this monumental and thematically complex gouache, masked figures simultaneously appear and disappear amid the thick foliage of sugarcane and bamboo. The multiperspectival rendering of these figures mirrors Cubist vocabulary, while the fantastical moonlit scene around these monstrous beings—half man, half animal—emerging out of a primeval jungle evokes the realm of the Surrealists. In his desire to express the spirit of Afro-Cuban culture, in particular that of the uprooted Africans "who brought their primitive culture, their magical religion, with its mystical side in close correspondence with nature," Lam reinforces the Surrealist aspect of this work.
Born in Cuba, Lam spent eighteen years in Europe (1923–41), which deeply affected his artistic vision. While there, he befriended Pablo Picasso and also established himself as an integral member of the Surrealist movement. The artistic and cultural traditions of Lam's homeland and Europe converged when he returned to Cuba and renewed his familiarity with its light, vegetation, and culture. In The Jungle the presence of the woman-horse, who in Afro-Cuban mysticism refers to a spirit in communication with the natural world, mirrors Lam's own confrontational dialogue with the so-called primitive interests expressed in advanced European painting. His work is an example of this confluence of two cultures.