 Bria Long, Class of 2009
Major: Human Biology
Focus/Concentration: Language and Thought
Minor: Japanese/French/Art classes
Student Groups: Managing Director, Student Organizing Committee for the Arts (SOCA); Research Contributor, Cognation psychology lab; TriDelta.
Overseas: Paris (Spring 2008); Psychology research in Japan (2007, 2008); Thessaloniki, Greece (Overseas Seminar 2007); Learning Enterprises in China (2006)
Post-Stanford Plans: Question of the year. Gallivanting in France or SF.
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A Chat with Bria Long
Stanford Student Arts: Why did you decide to come to Stanford?
Bria Long: Frankly, it seems to all have happened out of chance. I didn’t consider applying to any northeast schools early because of the cold weather and my previous bronchitis issues, so Stanford and California seemed ideal. I’m originally from Atlanta, Georgia and was ready to leave the South and my parents, being ex-hippies who had previously lived in Sunnyvale, had always glorified the West (and now they’ve moved out here too!). I knew that I wanted to go to a school with a good Japanese program, and thought I would do something in International Relations. I’m still kind of surprised that I ended up at Stanford in HumBio, actually.
SSA: Why is Stanford a special place to be as an artist/creator/organizer?
BL: Stanford is extraordinary in that it promotes, encourages, and draws innovation out of people. There is an emphasis on constantly changing and evolving for the better in any discipline – and this extends to the arts. Working in SOCA, I’ve been amazed at how willing and excited people were to work with me on new ideas and concepts. Sure, I’ve encountered resistance: some shows or events have been attended by three people and many ideas don’t always get the funding or manpower that they need. This culture of innovation and pushing the limits has encouraged me to think “outside the box,” per se.
And although it's been said a thousand times, going to school at a place where engineers are graphic artists are biologists are creative writers are also painters is wonderful. I really enjoy the interdisciplinary nature of the people that choose to come here. Most of the “artists” I work with – including myself – are multi-faceted, and this huge mix lends itself to some amazing creations and collaborations between the arts and other domains.
Lastly, although the arts community is relatively small when compared to, say, the Human Biology department, it’s tight-knit. We know each-other, we work together, and it’s given me a home here.
SSA: What are you most passionate about?
BL: This is a hard question for me because I find it hard to single out one thing, but I think my most longstanding passion and belief is in the value of the arts in daily and personal life. The personal, real-time experience of art is something that personally brings me a great deal of joy and that I believe is an essential part of our existence. Although I have a secret love of science, language, psychology, and the mind, I feel at home with the arts. My mother, a classical Suzuki piano teacher, has raised in me this deep love and appreciation for the arts, and it has stuck with me.
SSA: How does this play a role in your life at Stanford?
BL: My work in SOCA has been one of my most rewarding experiences at Stanford because I have been able to use my energy and enthusiasm for the arts in a productive and altruistic way. Giving a band their first gig or an artist their first public show, watching students enjoy making a mural, seeing Art Affair all come together as a collective effort: these have been the moments that have filled me with a sense of place and purpose. As an artist and musician myself, I know how important and rewarding opportunities for exposure and performance are. There’s been nothing more rewarding in my time here at Stanford than providing other artists with the resources and opportunities that they need to share their work with the community.
SSA: How did you get involved in your various activities/groups outside of academics?
BL: Walking around the activities fair freshmen year, I ran into the SOCA table and came to the next meeting. Through my friendships at SOCA, I’ve met the people who have guided and inspired me throughout the years in the arts. Somehow, the value of “who you know” only strikes me in retrospect.
SSA: Describe a project or experience that you’ve had as a student that made a big impact on your Stanford experience.
BL: As the Co-Director of SOCA in my sophomore year and the current Director (our managing structure has evolved), I’ve been deeply involved in continuing and expanding An Art Affair, our largest (and only) student arts festival. My sophomore year (2007) we partnered with Stanford Events and Community Day, started some new creative advertising adventures, and introduced group workshops. This year, we’re expanding An Art Affair to a four-day event as a part of a pilot university-wide Arts Week. I worked at SiCa this summer as an intern and was part of helping to plan all of what’s going to happen this spring – there are going to be a lot of additions and changes!
SSA: What funding sources did you use and what resources were most helpful/useful to you in your project?
BL: Special Fees and SSFD funding, which we wrote applications for. Drawing on the experience of past SOCA members has been absolutely essential. You can’t ever organize something like this alone – or generate all of the creative ideas needed to make it a success.
SSA: What was the most challenging aspect of the project?
BL: Juggling all of the different aspects of An Art Affair: there’s everything from the tent rental, hiring security, and catering food to deciding which groups should perform on which stage at what time to minimize noise interference, traffic, set-changes, etc. And then, of course, there’s all the creative advertising and hands on projects! Simply keeping it all organized and integrated in your mind is difficult. Also, it’s the first time I’ve really been in charge of, well, a huge event and a lot of money and responsibility. All of a sudden, I was a professional, and I had to learn how to be one.
SSA: Describe any creative solutions to problems you encountered?
BL: Having other people help you, and making color-coded to-do lists. Lots of them.
SSA: How was it rewarding?
BL: As I mentioned, organizing and running AAA continues to be one of the most rewarding experiences of my Stanford career. Being able to talk to my friend’s who are artists and say, “Hey, you should put your art on display – and I’ll help you,” and then watching their faces light up. Almost all artists create because we want to share something with other people, connect across some medium, be it paint, dance, spoken word, theatre, pottery, you name it. One of my favorite parts of AAA is quietly watching people enjoy it.
SSA: What did you learn/what are you most proud of as a result of this experience?
BL: I learned the power of a few people who are dedicated to a common purpose and willing to put in the extra hours. Honestly, AAA is organized by no more than five people, although we may have 30 volunteers the day of the event. I’m proud of the artists, of the people that come out of the woodwork and who use the opportunities I work to provide to finally share what’s only been in their dorm room all along.
SSA: What are some things you’ve done during summers that are of particular interest?
BL: Last summer I had the opportunity to work as an intern for SiCa: Stanford Institute for Creativity and the Arts. It gave me a broader look at arts administration and allowed me to start some projects (i.e. helping get art in the CoHo, Old Union) as well as design materials that are in use today (current student arts stickers, bags, and calendars). I’ve also spent the past two summers conducting psychology studies for a few weeks in Japan for my honors thesis, which examines the relationship between language use and memory for accidental events.
SSA: Tell us about your academics:
BL: My academics have not related to my activities in the arts almost whatsoever, except for one class that focused on health care as seen through literature and the arts—where I wrote poems for my all of my assignments. My concentration in “Language and Thought” examines the relationship between cross-cultural linguistic differences and thought patterns, including classes in philosophy, psychology, and neuroscience. I also have a passion for language that has lead me to take a language class every quarter at Stanford—go figure. Achieving a balance between the two domains has been somewhat difficult. As someone who likes being around people, I’ve found it hard to make time to paint or play piano alone; therefore, SOCA has been a great compromise that has allowed me to stay involved in the arts community while also feeling productive. In essence, though, what I’m mainly interested in is how and what we communicate – be it through language, music, art, or the combination of all three.
SSA: What do you dream about doing after Stanford?
BL: Many things. Eventually working in communications for a non-profit or foundation, teaching around the world, having my own art gallery in Paris/San Fran, one day having my own exhibit and living life slow enough to enjoy it. Writing travel essays. I do know, though, that the arts, in some form, will always be around in my life
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