Navarra Novy-Williams is a New York City-based dance artist and educator. She engages in collaborative projects with artists who are exploring the boundaries between audience and performer, creating new theatrical spaces for dance, and asking critical questions about the world. She is interested in sharing dance that is challenging, dance that is tender, dance that is demanding, dance that is humanizing, dance that is vulgar, dance that is humorous, and dance that is inclusive.
Navarra has danced with Les Grands Ballets Canadiens de Montréal, The Batsheva Ensemble, Cedar Lake Contemporary Ballet, and Richard Seigal's Ballet of Difference. She collaborated on original creations: Watch, with The Arias Company; Clear&Sweet and Always Now, with zoe|juniper; and Orpheus Unsung, by Steven Mackey and directed by Mark DeChiazza. She recently performed in Romeo Castellucci’s Democracy in America. She dances with the Metropolitan Opera Ballet and has worked with Manuel Vignoulle, the Francesca Harper Project, and Mary John Frank.
Navarra has presented her own work at the United Palace, the Danza Highbridge Festival, The Asbury Park Dance Festival, and STUFFED at Judson Church. She is currently working on a VR/360Video site-specific dance project called While You Wait... with video artist and composer Carlos Johns-Dávila.
Navarra teaches Gaga, ballet, and contemporary improvisation across the United States, including at the Juilliard School, NYU, SUNY Purchase, Movement Invention Project, MOVE(NYC), New Dialect, The Performing Arts Project, Dance Project of Washington Heights, and Dances For A Variable Population. She graduated from the Juilliard School with a BFA in Dance in 2006 and has a MA in Arts Management and Entrepreneurship from the New School.
"She moves with a playful, almost childlike energy that draws you in because you can’t predict what she’ll pull out next—each moment feels like a surprise."
- Jennifer Stahl
"Williams is a delicate fresh-faced dancer with long limbs that seem strong enough to move mountains. "
- Phyllis Goldman,