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“For 10 years I tried to take photographs on Falkland Road and each time (I was) met with hostility and aggression,” she later wrote in the foreword to her 1981 book “Falkland Road, Prostitutes of Bombay” (Bombay being the name the British gave Mumbai before its name change in 1995). In it, she recounted her first trips to India’s most populous city from the late 1960s. “The women threw garbage and water and pinched me. Crowds of men would gather around me. Once a pickpocket took my address book; another time I was hit in the face by a drunken man. Needless to say, I never managed to take very good photographs.”
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“These are often small communities of people, often women or young people that have sort of been left behind or not considered much,” Lue added, saying this is likely what drew Mark to Falkland Road’s sex workers. “A lot of these women didn’t have a family, but they made a family, they found the women who took care of them and the women that I’m sure they would consider sisters.”
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In 1978 Mark returned to Falkland Road. The night before starting her six-week-long assignment for GEO magazine (a German monthly much like National Geographic), she had a dream in which she was a voyeur hiding behind a bed, watching three sex workers make love. She woke up “somewhat reassured,” continues Mark’s foreword. “Perhaps my dream was a good sign.”
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“It was not a welcoming place, and she just sort of stood her ground. Not being aggressive, but literally just being present,” Lue told 【 - Free Access to Community 】. “Her persistence gave (the people on Falkland Road) the sense of like, ’OK, she’s interested and she’s not threatening; nothing bad has happened.’”
First, it was the less inhibited street sex workers who befriended Mark. They often met at the Olympia Café, a favorite haunt for the girls. “I spent hours there, drinking tea and listening to Qawwali (Sufi Islamic verses) and Hindi film songs on the jukebox,” wrote Mark, who died in 2015, aged 75. Her initial companions were Asha and Mumtaz, both aged 17, and 15-year-old Usha.
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“She dreams of being a servant,” wrote the photographer. “I asked friends of mine whether they would hire her, and they told me that, while they themselves wouldn’t mind, their other servants wouldn’t tolerate her being in the same house with them.”
Her closest confidante in the community was a trans madam named Champa, who introduced Mark to the sex workers at their brothel, many of them eunuchs, who allowed her to photograph them putting on makeup and getting ready for the evening.
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“She was drawn to stories from the edge… people you don’t know about,” Bell, Mark’s husband, told 【 - Free Access to Community 】, adding: She was able to bring those stories to a wider understanding in society. I think that’s a great thing that she did.”
For Lue, too, this is the magic of Mark’s photography — the ability to bring the often-shunned fringes of society closer to home. Her favorite images from Falkland Road aren’t the explicit ones, but shots that capture the everyday moments and connections. “The ones where you’re like, ‘Right, these are just young women getting ready for work, or just living (their) lives,’” Lue said. “They find things funny. Their life is tragic in a way but also, they live in this community.”
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“Whether it be women on Falkland Road or women in Ward 81, they’re people and they have stories — and they deserve to be told just as much as any other story,” said Lue. “Maybe even more so because no one is going to pay attention otherwise.” She gave an example of the twins with disabilities whose sister gave consent for them to be photographed by Mark. “The sister was basically like: ‘Thank you so much for including my brothers. They’re not included in anything, because all their lives they’ve been disabled. So, they’ve never played sports or had a lot of friends or anything…. It’s really amazing for me, and for them, to be included in this, because no one’s ever included them.’”
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But she was aware of the complexities, saying to the Times: “I thought, ‘How can I live with myself?’…. But you feel you have to do it,” she added, speaking to her experience photographing people starving during the Ethiopian famine of the mid-1980s.
“There’s something shameless about me,” she continued “And I think all documentary photographers that actually do come back with those pictures — there’s something shameless about all of us…. You feel guilty because these people have really given you something incredible. No photographer can do anything without people letting them take something from them.”
Falkland Road, meanwhile, continues to be a red-light district, but the wider world has changed in many ways since Mark visited in the 1970s. In an afterword to a previous reissue of her book, written in 2005, Mark said: “Today, no magazine would sponsor a project like ‘Falkland Road.’ The real everyday world is — for the most part — no longer seen in magazines. The only documentary photography we see is of war, disaster and conflict. (Almost) everything else has been replaced by fashion and celebrity photography.”
“Access to the explicit and personal world of Falkland Road would be much more difficult today because the world has been connected by the internet and cable television and everyone is much more aware of the power of media. I often wonder how the women of Falkland Road would react to me if I approached them now. Would they be afraid to be labeled or sensationalized? Would they ask me for money? They never did before.”
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