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The «Jungle», Calais (FR)

The refugee camp known as the Jungle was settled in an industrial zone on the
seaside, strategically located between the port and the Channel Tunnel. Over 14
hectares, these sand dunes were once an industrial dumping site of Calais as well as
a former summer camp complex. Jungleye’s initial concept was to delve into of the
history and metaphors of the place itself. Exploring the dichotomy of the place—an
area that was once both a holiday camp and a dump became a focal point for the
workshop.
Many associations, NGOs and volunteers helped the refugees living at the Jungle, but
most groups provided activities and aid that targeted children and/or women despite
the fact that the majority of the camp was male youth and adults. Recognizing that
the men were also vulnerable, Jungleye decided to work specifically with men.

One of the first goals in Calais was to give an identity, a name, and an image to refugees
who were more often perceived as a single human mass and not as individuals. The
Jungle refugee camp quickly became a real “city” with its own businesses, social
places, neighborhoods. In a very dynamic atmosphere, the camp was characterized
by continuous movement, basic social interactions and this feeling of creation in all
parts of the camp. It was through this sensibility that the creative laboratory known
as Jungleye was born.
As the classes began to focus on photojournalism, many photographers documented
the permanent violence with the police, the living conditions in the camp, the daily life
between families and social groups, the dismantling of the camp, and the opening of
the new camp founded by the government. Since the tensions with camp authorities
was a constant and looming presence, the participants often worked under the same
kind of duress as photojournalists do. With time and working through the process
of creation; however, the participants began to discover a way to narrate their own
story through images. It was through this assertion of each individual story, that the
participants were able to rediscover themselves.

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Why does our revolt must stay in the Jungle? ©Jungleye/Ahmad/2015
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Fear in the eyes of a woman dreaming about safety. ©Jungleye/Ahmad/2015
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Here, the fog makes you cry. ©Jungleye/Ahmad/2015
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Tear gas fences. ©Jungleye/Ahmad/2015
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I think I know what he is praying for. ©Jungleye/Ahmad/2015
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Relax. ©Jungleye/Ahmad/2015
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Past vs Future. ©Jungleye/Ahmad/2015
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No matter if I escape from death and blood, I found it again... ©Jungleye/Ahmad/2015
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Blessed offering. ©Jungleye/Ahmad/2015
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We, the migrants, are never the priority. ©Jungleye/Ahmad/2015
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He lives alone, he lost everything. ©Jungleye/Ahmad/2015
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We can still see the innocence of children in spite of the difficult circumstances. ©Jungleye/Ahmad/2015
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Our dreams have collapsed but we still hold out hope. ©Jungleye/Ahmad/2015
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When you live outdoors, gathering wood is a question of survival. ©Jungleye/Ahmad/2015
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A vague way, no one knows where it ends. ©Jungleye/Ahmad/2015
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Omar Ben Alkhatab mosque: symbol of justice. ©Jungleye/Ahmad/2015
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We are burning like these trees. ©Jungleye/Ahmad/2015
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France, 2015. Migrants are still collecting wood to be warm. ©Jungleye/Ahmad/2015
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He is looking for his thoughts lost in the sand. ©Jungleye/Ahmad/2015
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©Jungleye/Ahmad/2015
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We help each other to pass on to a better life. ©Jungleye/Ahmad/2015
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This seaside reminds me of those deadly boats. ©Jungleye/Ahmad/2015
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I hope to gather with my friends like these birds. ©Jungleye/Ahmad/2015
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Because the sacred carries us everywhere, always. ©Jungleye/Abraham/2015
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Even though it is the Evil -Eiffel- tower, it fits in my hands. ©Jungleye/Ammar/2015
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I am looking for tenderness anywhere, maybe these two stone statues could give me some. ©Jungleye/Ammar/2015
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You can always see innocence in the eyes of children, even in the worst situations. ©Jungleye/Ahmad/2015
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Volunteers are gone. Their caravan remains. ©Jungleye/Ahmad/2015
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Cinema in the Jungle. Relax dude, it is a long way. ©Jungleye/Ammar/2015
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Looking for a way through the maze of fences. ©Jungleye/Ammar/2015
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