Tribute to a teacher
The passing on of a person always makes us look in hindsight at the kind of life he/she has lived. We review with much emotion the times we have been together, all that was shared. And so my eyes were filled with tears as I sat in front on the urn, placed in a simple setting at a humble dance studio. Simple flowers were around, some children and a small group of people were around me as we sat to say a novena for Tony Fabella. I caught our reflections on the studio’s mirror.... Eddie Elejar and Luther Perez seated by my side. And we were praying, not dancing... With mixed emotions we sat there in front of the ashes of noted choreographer and dance teacher Tony Fabella, who passed away after a couple of years of fighting cancer.
Many have written and spoken about his achievements, how he was partly instrumental in helping put up Ballet Philippines with Alice Reyes and Eddie Elejar, how he inspired students as dean of the dance department at the Philippine Women’s University. How his personal expression as a dancer was experienced in the Bayanihan Philippine Dance Company, the Dance Theater Philippines, and the CCP Dance Company... and how many people thought his talent as a choreographer was not maximized in the professional dance world as he chose to choreograph for the youth. He was a 2002 Alab ng Hiraya awardee for the Best Choreography given by the National Commission for Culture and the Arts. Only now through documentation of his works and faded brochures of performances past do we get a glimpse of the passion Tony had for Filipino culture, for our music, our tradition, and how he tried so to inject these influences into dance.
How does one speak of a beloved teacher? I am rummaging through old scrapbooks of years past when dance was my all consuming passion. When rehearsals under the Manila Metropolis Ballet (which Eddie, Tony and Luther put up) meant long nights and bleeding toes preparing for performances. He was my dance teacher and mentor who fueled in me the passion for dance during my grade school and high school years. At 16, he told me to get up on stage for a professional jazz and modern dance show. Gawky and insecure as I had only been dancing ballet, he nudged me to a whole older group of dancers such as Douglas Nierras, Benji Toledo, Sandy Hontiveros, Tats Manahan and so many more.
I see the pictures of us in costume backstage and I fight back the tears. There is Tony — with his wide happy smile and laughing eyes. And this is always how people will remember him: His laughing smile, and his gentle demeanor, his positive outlook and his generous heart. I can’t remember Tony ever screaming or shouting...that would really have been out of character.
Our paths would cross through the years as I watched his performances and shows, and tried to help in some way, with the street children who occupied his time for the last decade or so of his life. The work with the street children began when Eddie Elejar was sent to China by the Cultural Center of the Philippines for an observational tour of dance studios and programs. When Eddie got back and fed the idea to Tony and Luther, they began what would be their most beautiful expression...teaching dance and the performing arts to the poor street children, seeking out jewels of talent amidst urban squalor, filth and decay. Today, that dream can be seen in the accomplishments of more than 400 young children in Manila and Quezon City; in the dream of all their parents who yearn for better opportunities for their children. Through the help of the mayors of Manila and Quezon City, the vision of these three dance professionals have expanded to include musical instruments, chorale performances, and even theater.
But it was at Quezon City that Tony poured out his heart. With the help first of former mayor Mel Mathay and now of Mayor Sonny Belmonte, these group of children he nurtured into professional performers have performed in distinguished venues locally and internationally (even winning prizes in international competitions). Despite all odds, these children of construction workers, laundry women, household help, plumbers and vendors have merited rousing applause wherever they have toured — from the Main Theater of the CCP to the basketball courts and public schools all the way to hotels and Malacañang Palace. They have also made it to China, Japan, Macau, Thailand and Hong Kong. These children take the performing arts and dance scholarship seriously for it has changed their lives.
The Quezon City Performing Arts Development Foundation Inc. (where Tony was president and artistic consultant) secures the continuity of this program beyond local government support. The Foundation, now headed by Joy Belmonte-Alimurung as its chairperson, continues the task of fundraising, not only to keep the performing arts program steady, but to even feed the children, as well as educate them. It was also with this group that Tony’s last choreography for the children was performed. His sentiments written in the show’s brochures states: “It has been said that men who dream are haunted men. Eternally destined to be disturbed, restless and obsessed until the highest possibilities (and impossibilities) are attained. Dreamers die when dreaming stops. Thus it is with great ambition and even greater pride that we have dreamed up yet another seemingly inaccessible physical reality...taking to the stage for the very first time in the history of Filipino musical history, perhaps our country’s most loved epic masterpiece — the Ibong Adarna.” Accomplishment was even sweeter when, after months of pursuing Mayor Sonny Belmonte, the mayor finally relented to their request for the renovation of the Amoranto Multi-Purpose Hall (often home to athletes) to include a performing arts theater worthy of class acts and performances. Tony took extra care in designing the stage for the dancers, expanding it to create more space and height for more ambitious and large scale performances. The New Amoranto Theater was born. And Ibong Adarna was first performed. And the Quezon City Performing Arts and Dance Foundation (QCPADFI) celebrated its fifth year anniversary.
In an interview before he passed away, Tony commented on his choice of storyline and theme. He said, “I was interested in the Ibong Adarna since it is a required reading material for first year high school students in the country. I thought that if we presented it, it would help student understand as we hope to tour the production around public schools. This is also the first time we are staging a production combining everything we are doing....we now have scholars in voice, ethnic Filipino music, and of course, dance. The show combines all three. What better way to see all our scholars but in one grand show — with over 100 performers in the cast!”
One last grand show. One grand life. And now, the theater curtain slides close. Godspeed Tony. You will be sorely missed. Your spirit lives on in every young child you have helped, in every performer and audience you have inspired and shared your love for dance.
