[2] At the age of fourteen, she joined Fidel Castro's rebel army in the Sierra Maestra and participated in the Cuban Revolution.
[1][3] In 1959, she began working at the airport in San Antonio de los Banos as a member of the legendary Mariana Grajales Women's Squad.
[1] In 1966, Fabars was invited by the playwright and theater director, Eugenio Hernández Espinosa, to come to Havana and try out for the National Folkloric Ensemble (Spanish: Conjunto Folclórico Nacional) (CFN).
Unfamiliar with the folk dances and traditions of the western part of Cuba, she studied with the anthropologist Fernando Ortiz Fernández, as well as many of the company's premier dancers,[4] such as Santiago Alfonso, Luisa Barroso, Nieves Fresneda, Zenaida Hernandez and Emilio O’Farrill.
[1] Some of her most noted performances include Yoruba Iyessá by the Mexican choreographer Rodolfo Reyes Cortés, which became a signature piece for Fabars; Ciclo Congo; Arara, which features spinning movements with a basket on her head;[4] and Rumbas y comparsas, in which she was the zebra.