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From doggie bootcamps to intense bodybuilding programs, it's an exciting time to get in shape. What are you waiting for?
Paddle Into Fitness
760-803-6293
$25 for a single class
paddleintofitness.com
I’ve been practicing yoga for a few years and gravitate toward athletic styles like Vinyasa and Ashtanga, where the flow is continuous. I like leaving class feeling peaceful but strong. The idea of taking my practice to the water and trying SUP yoga had always been appealing. I thought the paddle workout combined with yoga would be like getting two workouts in one. Plus, even the nicest yoga studio can’t beat a bay view.
I met Gillian Gibree from Paddle Into Fitness on a Sunday morning at Kellogg Beach in Point Loma. For my first time trying SUP yoga, I was excited to have the water (almost) all to myself. I was also relieved—fewer boats in the bay meant calmer seas and a lower chance of my ending up in the water.
Gillian went over paddleboarding basics on the beach first, and then we paddled out. The paddling wasn’t strenuous and made for an ideal warmup. We stopped at a small cove away from boat traffic, in shallow water. My board was equipped with a small anchor that I was instructed to drop into the water to better stabilize my board during practice.
As we started class seated on the board with our eyes closed, the sun warmed my face. The sounds of the waves lapping and the seagulls overhead created a beautiful soundtrack. It was instantly calming.
We moved into standing sun salutations, then into the first downward dog. The most surprising part was how limited I was in movement. The tiniest step forward or backward would challenge my balance. I was keenly aware of where my feet were at all times, and my core was working overtime. Even familiar poses felt drastically different on the water. In most yoga classes, I am always thinking about getting into the next pose. For once, I was focused on keeping still.
I was surprised by the variety of poses that could be done on a paddleboard. Side plank, extended side angle, reverse warrior. I was more limited in my expression, but still felt the strength and stretch of each pose.
After 45 minutes, we came back to a seated position on the board, closed our eyes and brought our hands to our heart. I felt invigorated. I had been so focused on staying in the poses and out of the water, my mind really hadn’t wandered anywhere else. There was no clock to watch, no water to sip, no towel to wipe. I think I discovered the ultimate way to stay present.
Get Fit & Have Fun in San Diego
Jay Reilly
Beginner Taiko Drumming
Classes start at $15
sandiegotaiko.org, naruwantaiko.org
Like many parents, I too have those days where dealing with kids, work, school, and spouse just makes me want to hit something really hard and yell really loud.
Thankfully, I found a way to channel that: taiko, the art of Japanese drumming. I wanted to challenge myself, learn something new, tap into an inner desire to make music, and be a good role model for my daughters. I’m not a gym rat or a yoga mom, and exercise bores me.
I wasn’t sure what to expect at the beginners’ class offered by San Diego Taiko, at the WorldBeat Cultural Center in Balboa Park. The first thing I saw was a row of huge traditional chu-daiko (medium-sized taiko drums) set up on the performance floor. It was exciting to imagine hitting the big drums and the sound it would make.
As we got started, I realized that taiko has a lot in common with Asian martial arts and karate. For example, the power and strength of your playing comes from the koshi (core), and your kata (form) is all-important, to strike the drum properly.
Taiko is about respect for the culture and its traditions, not just banging a drum. We learned musical patterns and made loud vocalizations (kiai) to motivate ourselves and the other students. It’s fun and distracting from the fitness required to play the daiko.
As for the fitness—every taiko class begins with stretching and warm-ups, from aerobics to push-ups and sit-ups to build core strength. Once you begin working on your form and strike, though, the pain really starts. Instructor Noel Garcia, who studied in Japan and has been performing taiko for 16 years, takes a traditional approach. I’m not in the best of shape, but I was relieved to see some of the more fit fellow beginners sweating and shaking as we held our form and practiced a proper strike.
Over at Naruwan Taiko, classes are held in North County. Instructor Diana Wu focuses on high energy and group drumming, with a level of enthusiasm that’s infectious. At Naruwan Taiko, we learned to strike with positive energy, and to listen to each other and feed off each other’s enthusiasm. Like Garcia, Wu also covers the cultural aspect of the art form, teaching the history of taiko in America and all the different styles of playing (I’m particularly interested in the giant o-daiko, that you play with your arms over your head, and yatai seated style, which is basically the craziest ab workout you’ll ever see).
Finally, we got to hit the drums. With the proper form, it’s like hitting the sweetest sweet spot in any sport you can imagine. For me, the sound was unbelievable—a deep BOOM that resonated through my arms and vibrated my insides. When you’re striking the daiko, you feel like you’re tapping into the energy of the earth itself, traveling up through your feet and energizing your entire body.
By the end of my first class, I was drenched in sweat and could barely lift my arms. With two classes a week, combined with practicing at home, I knew this would be a great way to get a workout (core, abs, legs, and especially upper body) and also learn about an exciting centuries-old art form. You get to push your musical and physical limits, and bang on big drums as hard as you possibly can. And every mom could use that once in a while.
Get Fit & Have Fun in San Diego
Culture Shock Dance Center
2110 Hancock Street,
Middletown
619-299-2110
$15 per class
cultureshock dancecenter.com
I’d say I was reluctant but open when I agreed to try the Shorty-N-Me toddler dance class with my almost-three-year-old, Jack. We watch as much Yo Gabba Gabba as the next family, but Jack isn’t the type to get up and dance with Foofa, Brobie, and DJ Lance. I’m not a great dancer, either, and have never been a gym-goer or fitness class-taker. We are more of a hiking, gardening, bike-riding, park-playing family. But after having two kids in three years, I needed to step up my game. As a busy working mom, being able to exercise while playing with my kid sounded great. And the 9:30 a.m. class on Saturdays is perfect for toddlers: on the week-end, after breakfast, before naps.
On our first attempt, the parking was hard (the center is in an industrial area), and Jack was already uneasy. He saw the teacher at the front, the kids in the line, and could tell he was going to be forced to do something. He tried to block me from opening the door, so we didn’t go in. I wanted it to be fun for him.
Then, on the last Saturday before this story went to print, we got to the class 10 minutes late and just busted in and started doing it. I’m sad to report that he didn’t like it. I think it was the music. It’s pretty loud. Like DJ music at a wedding. The instructor has to turn it off to give out the instructions. Jack also doesn’t hear a lot of hip hop in our house. We’re more Jimmy Buffet people. He immediately plugged his ears and climbed up my legs. I picked him up—all 35 pounds—and tried to slide and step and jump around. That lasted 10 minutes or so, and then it was just distracting to the class. Other kids wanted to be picked up, and I am not in good enough shape to do hip hop holding 35 pounds of kid. His shoes kept coming off. Squatting down while holding him to pick up his shoes was the real workout for me.
We both needed a time out. We stepped outside the class and sat in the hallway. I took his picture, still plugging his ears, and texted it to the editor and art director of this story. “Sorry.” We left and went to the park, where Jack ran wild for an hour.
But here’s the bright side: Every other kid in the class—all girls the day we were there—was loving it! Running and stepping and jumping with cute attitude. They wore tutus and sweat suits and bright sneakers. The instructor was patient, fun, go-with-the-flow. She even tried to move the speaker for us so it wasn’t so loud.
What did I learn, overall? First, I need to diversify the music my kids are exposed to. And second, our kids really are influenced by what we do, not what we tell them to do. I’m not a gym person, a class person, or a very organized person in general, and I see some of that in my kid. Which means we need to stay active in other ways, like walks, hikes, and running around outside.
I guess hip hop will have to wait ‘til his sixth grade dance.
Get Fit & Have Fun in San Diego
Jay Reilly
The Sporting Club
8930 University Center Lane, UTC area
858-522-8000
$25–$35 per session, for members
thesportingclub.com
I’m not an elite runner by any stretch, but I do challenge myself to break my personal records, or PRs, when I race. Running a race faster than I ever have before makes me feel like I’ve trained hard and accomplished a goal.
When I lined up at the Silver Strand Half Marathon in November, I was hoping to break my record of 1:48:47. But it was not to be. I’d caught a cold the week before, and as I passed mile 8 my legs felt weak and my pace began to slow. I pushed as hard as I could.
Shortly after that disappointing race, my editor asked me to try a new contraption. It’s called the Cyclic Variations in Adaptive Conditioning, or CVAC, pod.
“Advanced technology and science combine to deliver progressive low-pressure air changes that rhythmically squeeze and relax the whole body, including the organs and even blood, right down to a cellular level,” according to the website.
This “cellular massage” is supposed to help your lymphatic system reduce inflammation, which means your muscles are less tired and sore after hard workouts. It is also supposed to increase stamina and energy, and create deeper sleep.
I met CVAC representative Ian Robb at The Sporting Club, and he showed me to the pod. As I climbed inside I tried not to think about the spaceship from Contact and its ability to teleport to an alternate universe. Robb promised I’d be perfectly safe—all I had to do was sit there and let the pod do its thing. “Some people even fall asleep,” he said.
The CVAC pod doesn’t move, but it does take you on a journey. Using changing amounts of air pressure, it simulates elevations from sea level to mountaintops, and quickly raises you and drops you between those extremes over and over during a five-minute session. I started on the most mild level. I felt like I was in an airplane taking off. My ears repeatedly clogged.
“It gets a little more exciting at the end,” Robb said to me via walkie-talkie—the sealed door and rushing air mean you can’t hear outside. My ears popped again and again, until finally I glided smoothly back to sea level. I definitely wasn’t falling asleep.
Most pod devotees do two to three 20-minute sessions a week, and Robb said I’d need at least 10 to notice a difference. But after two sessions, I ran 14 miles with four miles at race pace and nailed it. Maybe it was the pod, or maybe its fancy science was tricking me into thinking I was stronger.
After a few more sessions and a lot more miles run, I lined up at the Holiday Half. I felt strong during the entire race and broke my personal record by more than five minutes, with a time of 1:43:25. I can’t say whether it was the CVAC or all the training I did, or because the race had a lot of downhills. I do know that during the race I ran from 700 feet to sea level without my ears popping once.
Get Fit & Have Fun in San Diego
Jay Reilly
Leash Your Fitness
Locations available throughout the county
619-822-3296
$20 for a single class
leashyourfitness.com
I spent much of 2014 “off the wagon” of regular exercise, with the occasional heart-pumping burst during a quick jog around the block with my dogs. But those two rascals, Toby and Tilly—particularly Tilly, a beagle-dachshund mix with a lot of destructive puppy energy to burn—need more exercise than that. So it only makes sense the class that finally got me off the couch was “Bonding with Bootcamp,” a comprehensive cardio, strength training, dog-obedience, and agility class all in one. Offered by Leash Your Fitness, the hour-long session seemed like just what I needed to jump-start my workout routine and provide some extra exercise for my restless pooch.
Tilly and I took a Sunday morning class at Markim Pet Resort in Carmel Valley. Class rules say one dog per participant, so Toby had to stay home, but it was for the best: It’s hard enough to hold the leash of one dog while focusing on the proper form for lunges. Two dogs would have been a disaster.
I’ve taken many a bootcamp class in my day and, workout-wise, this one was similar, with intervals of running, lunges, squats, ab work, resistance band work, and even some weighted hula-hooping. What made the class different—and so much more fun—was that Tilly was right alongside me the whole time, jogging, sitting and staying on command (well, we may have to work on the staying part), and enjoying the energy of 15 other dogs and their owners. The best part, for both my two-year-old pup and her proud owner, was the obstacle course that included the dog-only A-frame climb and a series of high and low hurdles for both of us. I’ve never taught Tilly a “jump” or “over” cue, but she was a natural, her short legs leaping through the air with ease. She was smiling and wagging her tail the entire time.
If the class sounds like it was more for Tilly than it was for me, make no mistake: I was tired, sore, and extremely well-exercised at the end of 60 minutes. But I also barely even noticed an hour had gone by. My dog provided a joyful distraction and even though there were times I didn’t want to run that second lap, Tilly was having so much fun I didn’t want to let her down.
A happy, tired dog is just one benefit of the Leash Your Fitness bootcamp, but there are plenty more: One woman in the class has lost 30 pounds. Another no longer has to take medication for high blood pressure. And all the participants enjoy the guilt-free feeling of not leaving their dogs at home alone while they enjoy the great outdoors. It was enough to make me want to go back—and maybe take Toby along for the fun next time.
Get Fit & Have Fun in San Diego
Luis :Garcia Luis Garcia
Feldenkrais
Rancho La Puerta
800-443-7565
$300 for four hours of classes (Saturdays); $3,250 for one week
rancholapuerta.com
I’m out at Rancho La Puerta, a 3,000-acre spa-hotel that’s more than twice the size of Balboa Park, just south of the Mexico border on the outskirts of Tecate, where boulders, cows, and vineyards abound. I’m a mere 40 miles from central San Diego. But like most of the other people here—be it for a week, half-week, or just the day—I feel worlds away.
Simplifying the international commute comes as part of the package; staff members meet guests on the U.S. side of the border, walk into Mexico together, and chauffeur them back to the property, a five-minute car ride down the road.
Among the roster of some 75 classes offered daily is a crash course on the Feldenkrais Method, a somatic educational system developed by Israeli doctor Moshé Feldenkrais in the 1970s that’s described as an “internal journey to rediscover balance, flexibility, and coordination.”
I’m a fairly active 30-something who exercises as regularly as possible. Weights and cardio, mostly, with the occasional yoga or swim session. I’ve never heard of Feldenkrais, but my stiff, 30-something neck, lower back, and hamstrings—ever-reminiscent of our more agile days—are already signing me up.
Our instructor is Donna, a lanky woman with an aikido background who’s been practicing Feldenkrais for 19 years. She says it’s ultimately given her the ability to engage more fully in the world, and enhanced her creativity in how she habitually moves her body.
That’s pretty deep. Nevertheless, my neck, back, and hamstrings are now buckled up and ready for blastoff.
Taking shoes off in the middle of the room, I notice I’m the youngest of my nine classmates, who range from their 40s to 80s. And I’m the only man. But Donna assures me the beauty of Feldenkrais is that the same class can benefit anyone and everyone, be it a paraplegic or an Olympic medalist.
The session lasts an hour, enough time to take us through 10 basic movements. We observe how our bones connect with the floor, and notice how much effort it takes to lift our pelvises with our feet and knees together. We rest. Then we do the same, now with our feet and knees apart. Then we rest again, comparing how we feel while lying still before and after each move. We clasp our hands and point to the ceiling, drawing circles and lines in the air and noticing the movement of our shoulder blades. Then we clasp our hands again, but now with the opposite index finger on top, and do the same. Then we rest and observe again.
After an hour on the floor praying to the rafters and resting, I feel relaxed, sure. Almost as if I were sinking into the floor. But I haven’t broken a sweat. I haven’t exerted myself whatsoever. I actually feel as though I’ve done very little, and that’s exactly the idea, Donna says: to strain the body less by making each movement as efficient as possible. And, also, lots and lots of rests.
“Take a rest before you need a rest,” she says. “That way you never need a rest.”
And that’s when I realize I’ve been a Feldenkraiser all my life.
Get Fit & Have Fun in San Diego
Jacqueline Campbell for Birds of a Feather
Prenatal Massage
Equilibrio Massage
3320 Third Avenue, Hillcrest
619-955-6670
equilibriomassage.com
A Thai masseuse once told me that massage is like yoga for lazy people. And like a religious zealot, I have clung to this idea ever since. Whenever I didn’t feel like downward dogging, I headed to Massage Envy. So I am no stranger to the many benefits massage can bring, including increased circulation and decreased stress.
But all of that changed when I became pregnant. I’ve developed common ailments like leg cramps, restless leg syndrome, lower back pain, and insomnia.
I tried one prenatal massage at a fancy resort, where the answer to my big belly was a foam pillow with cutouts for my stomach and breasts. Well-endowed women, beware! I think those pillows are made for smaller chests.
I have also found that, aside from the random person who rubs my belly, people are generally afraid to touch pregnant women. Rare is the soul willing to risk a lawsuit or worse by putting any kind of pressure on a woman with child.
Then my boss referred me to Equilibrio Massage in Hillcrest. Owner Nicole Trombley and her staff are experts in the needs of pregnant women. Most are doulas and make house calls for massage. Some will even come to the hospital to provide a rubdown during labor.
Nicole is not a fan of those foam cutout pillows, citing concerns like increased uterine pressure and nasal congestion, common in pregnancy, especially when lying facedown. She has me lie on my side and builds a mountain of pillows around me. I counted seven in total—under my head, side, stomach, knees, calves, feet, and elsewhere. I instantly feel like I might fall asleep.
She also tells me in a calm whisper that she prefers deep pressure, if I’m okay with that. I am. And as I drift in and out of sleep, she proceeds to work out the kinks. At some point, we switch sides. We finish on the back in a semi-reclined position, where she rubs my scalp, neck, and shoulders.
That night, while watching TV, I notice my restless leg syndrome is nonexistent. As are the leg cramps that sometimes wake me up at 1 a.m. I’m also so blissed out that I don’t bite my fiancé’s head off when he wants to watch football while I am in the middle of The Bachelor.
Before bed, I try to recreate Nicole’s mountain of massage pillows. The next morning I have an email from Equilibrio: “Did you like our massage pillows?” It directs me to a free download link. Turns out, Nicole has written a book, titled Sleeping While Pregnant Guide.
I went back to Equilibrio two more times—each as pleasant as the first visit, prompting similar results (75-minute sessions start at $105; discount packages available). If you have the means, it is a lovely gift to give yourself or someone you love who’s expecting. Here’s to a happy pregnancy, with restful nights and TV remote sharing without the threat of divorce!
Get Fit & Have Fun in San Diego
I’m on a tight budget. I’m saving for my wedding this summer, trying my best to stay zen and not turn into a Bridezilla. Yoga has always helped me find an open heart, clear mind, and stretched body. I decided to look for free or donation-based yoga classes. In San Diego, I found there’s at least one happening every day of the week.
The first place I discovered is the Bergamot Spa in Encinitas. It is packed with Buddha heads and bamboo, succulents, and plumeria. The instructor turns on a portable plastic fireplace to heat the yoga room. Jimi Hendrix plays on low, and we start on our backs in Shavasana. By the time the two-hour class is over, I am so sore I can barely walk to my car.
The next day, I opt for Laughter Yoga. I meet the class in Balboa Park, south of the playground at Spruce Street and Sixth Avenue. We stand in a circle and warm up by laughing. I have never felt so awkward. By the end of the class, though, I’m laughing naturally with them. “Laughter gives us a different way to react to the things life throws at us,” says Michael Coleman, founder of the nonprofit Laughter Matters. I leave the class feeling like nothing could awaken the Bridezilla inside me.
On day three I drag my mat to the beach for yoga with Namasteve, a local P.B. celebrity. The grass where he teaches every weekend at the end of Law Street is packed with more than 100 yogis.
On the fourth day of my yogic journey, I am craving some furry companionship. On Facebook, I find Sara, who teaches Puppy Yoga behind the Ocean Villa Inn, for some gentle Hatha yoga. The class takes place in O.B.’s dog park. On this day, it’s just the instructor’s Chihuahua. The yoga is not too challenging, and I leave with a tan.
On day five, I visit a class taught by Lauren, who is part of One Love Yoga, an online community that lists free and donation-based classes throughout the city. Inside the Swedenborgian Church in University Heights, we practice Vinyasa with Ashtanga inspiration in the downstairs hall. No organ here—the instructor has chosen a mellow playlist. Still, I feel as if I’ve had a kind of spiritual experience.
On the second-to-last day, I head to Lorna Jane in La Jolla for a free booty yoga class, which works the abs and core. The clothing store has its own private studio, with free classes offered every day. Luckily, there is no pressure to shop, nor mention of merchandise.
On the final day, I drive to Yoga One on Seventh Avenue, downtown. The place has a natural om vibe. The room is dark, with candles and smells of cinnamon and honey. The free weekly Candlelight Flow class is soothing and relaxing for my body and mind. As I leave my final class, I take a deep inhale and think about this journey. Great things in life can be found at little to no cost at all. Namaste.
Get Fit & Have Fun in San Diego
Jay Reilly
San Diego Athletics
5026 Cass Street, Pacific Beach
10 sessions for $230; memberships start at $149 per month
pbcrossfit.com
When my CrossFit gym, San Diego Athletics in P.B., began offering a bodybuilding program, my first reaction was “Oh, heck no.”
For four years I’d attended CrossFit classes four to five times a week. I learned about Olympic weightlifting, gymnastics, full-body functional movements, and the concept of intensity. I’d switched my focus from what my body looks like to what it can do. However, my progress had slowed down in the last year. I was battling chronic tendinosis in my knee, and I was looking to try something new.
But bodybuilding? Really?
If you’re a woman who’s been told most of her life that smaller is better, the idea of intentionally building up your body is slightly terrifying. There’s a reason the phrase “strong is the new skinny” became so popular. It’s the word “skinny.” While I don’t subscribe to celebrity trainer Tracy Anderson’s belief that women shouldn’t lift more than three pounds, I also don’t post aspirational photos of Arnold Schwarzenegger on Instagram. I want to be strong and cute.
Gym co-owner Bryan Boorstein wrote a convincing blog post about how a base of strength is important, and how building muscles spikes the metabolism, even when you’re not exercising. One line in particular hit home: “Your body is desperately hoping you stop breaking it down. It’s time to get strong.”
So, I committed to eight weeks of bodybuilding, exclusively. In the first few weeks, I was often the only woman in the class. Some of the exercises were familiar to me—like back squats, bench presses, pull-ups, and ring dips—but I was clueless about anything that involved a dumbbell.
The movements may be old-school, but the atmosphere in a San Diego Athletics bodybuilding class is completely novel. Instead of everyone following their own program and fighting over weights, the class works together, sharing benches and dumbbells. The music is loud—sometimes it’s Pearl Jam, sometimes it’s 2 Chainz, sometimes (sadly, for me) it’s country. The trainers lead everyone through the movements, offering guidance on form and technique and how much weight to use. Once a week we leave the gym and do hill sprints, followed by ab exercises.
The first week was rough. I felt like an addict, obsessing about what I was missing in the CrossFit workouts. What if I got too muscular? Or what if I got fat?
In the second week I started to figure out how to push myself and what weights to use for the seemingly endless variety of exercises.
After a few weeks I started seeing some interesting results.
My knee pain disappeared. Completely. Then, one day, I did three sets of eight strict pull-ups, something I had never managed to do in four years of CrossFit. And even though my weight stayed the same and I didn’t change my diet, I noticed more definition in my abs. For a 41-year-old mother of two, this was kind of a big deal.
As the weeks went on, more women showed up to class. I can now do dumbbell flies and hammer curls like a champ. And I’m happy to report, there is still no Schwarzenegger photo in my Instagram feed.
Photography by Jay Reilly, Jacqueline Campbell & Luis Garcia
Get Fit & Have Fun in San Diego
Jay Reilly
Artists and advocates are building a more sustainable creative future through public funding, political organization, and cross-border collaboration
This is part of a three-part series. This is Act III. See Act I and Act II here.
We’ve been here before.
In 2012, city funding for the arts and culture in San Diego had eroded. As a corrective, the city council unanimously approved “Penny for the Arts”—a promise to dedicate roughly one penny of every dollar spent on hotel rooms (the Transient Occupancy Tax, or TOT).
The logic was fair and sound: Cultural institutions and events help attract visitors. Those visitors pay hotel taxes. So, the people agreed, some of that hotel-tax revenue should go back into maintaining the cultural ecosystem that helps bring those visitors and that money.
Projected as a five-year plan, the measure was supposed to increase funding to $17.9 million by 2017.
It never did. The penny was never guaranteed, so each year the city used part of it for other priorities. By 2023, the money going to arts and culture was up to about a half a penny. Even as TOT revenue has gone up significantly.
In 2019, TOT revenue was $245 million.
In 2025: $325 million.
One fix would be to guarantee the penny. Not simple, given San Diego’s financial woes. But the alternative—eroding the culture that makes San Diego San Diego, give it its identity—also doesn’t feel wise. Plus, even a locked percentage still rises and falls with tourism, which is why culture advocates want a guaranteed floor on top of it.
Another solution would be to give the arts commission actual authority.
“It’s an advisory body,” says arts commissioner Kamaal Martin. “You’d be hard-pressed to find anybody who takes our advice.”

He described the commissioners debating real, consequential questions this year, like whether and how to divide the cuts between funding pools. But those conversations “don’t connect to whoever’s actually deciding,” Martin says. “We haven’t been entrusted with decision-making about relevant things nearly enough.”
Christine Martinez is building political infrastructure through her organization Arts+Culture:San Diego—which is starting a 501(c)(4) lobbying structure not unlike police and fire unions. Martinez is also keeping her community actively engaged. “We won’t be caught off guard next year like we were this year,” she tells me.
Then there’s the evergreen issue of affordability and accessibility. Kiplinger’s most recent report ranks San Diego as the 11th most expensive city in the US, based on cost of living. The average home value is $980,700 (the US median is $540,000), but San Diego’s median household income is only one-third greater than the national level. Rent is also 66 percent higher than the national average ($2,716 vs. $1,636).
This is why San Diego has long suffered from the creative brain drain—creatives leaving for more affordable cities. “Artists are free to live wherever they want, and they will go where the rent is affordable,” says Jennifer de Poyen of Space 4 Art. “When they leave, they take their gifts with them, and their contributions, and their economic impact.”
One saving grace is the presence of Tijuana, where the cost of living is about 60 percent lower than San Diego, per Numbeo. Tijuana has long functioned as an affordable neighborhood for many in San Diego’s creative culture. It’s part of the reason why the binational identity is such a constant in our galleries, music, theater, murals, and culture. While that cross-border blood flow is one of San Diego’s most compelling attributes, few artists living that life would call it convenient or easy. A city is at a disadvantage when its culture creators have to cross a border to go home at night, and cross again the next morning to work.
In May, San Diego County Board of Supervisors approved a $2.75 million arts initiative of its own. It includes an Artist Space Grant Program aimed directly at the affordability crisis, as well as an artist-in-residence program, a dedicated Binational Creative Economy Investment, and a one-time investment in the Black Arts and Culture District in Encanto.
Bob Lehman of San Diego Art Matters has been doing county-level, binational organizing for years; in 2023, he helped get the county’s arts commission reestablished after 30 years of defunctness. That’s important because it gives arts and culture an official seat in county government, advising the County Board of Supervisors on arts and culture policy. He also brought in consultant Laura Zucker, who ran LA County’s arts program for three decades, to build a real regional plan.
“I really believe we’ll have something set up here that other communities come and look at,” he told me. “A national template other cities come to learn from.”
When asked who decides which artists will get the new grant money, county arts commissioner and executive director of the Chicano Park Museum and Cultural Center Monica Delgadillo Hernandez doesn’t hedge.
“That’s part of the infrastructure we’re going to be building,” she says. “What should a panel of reviewers look like? Should it be the commissioners? Should it be other folks? A supervisor?” She was just as candid that the commission itself doesn’t reflect San Diego’s population—Chicano communities are roughly a third of the city, she tells me, “and that’s not represented at the table yet.”

The great news is that none of these solutions have to be invented from scratch. Numerous cities serve as examples of what’s possible—if we have the will.
Jonathon Glus—Prebys Foundation Senior Fellow for Art & Design, the Executive Director of the Art + Design District, and board president for California for the Arts—worked in Houston before coming to San Diego. The Texas city dedicates 74.5 percent of its hotel tax to arts grants by formula, and that support is guaranteed. Washington, DC locked in dedicated arts funding in 2019. Salt Lake City, my hometown, has run a voter-approved arts tax for almost 30 years, most recently reauthorized through 2034. And just this summer, New York City pushed cultural funding to a record $323.8 million, even incorporating an emergency fund.
Denver’s model is interesting because instead of a city-dependent funding model, theirs is a 0.1 percent regional sales tax. In place since 1988 and renewed by voters three times, their Scientific & Cultural Facilities District has distributed between $54 million and $85 million to arts, culture, and scientific orgs—each of the last 12 years.
This is part of a three-part series. This is Act III. See Act I and Act II here.
None of these cities got there by accident. They decided, on purpose, that arts and culture were worth protecting from politics—and, in some cases, worth building an entire identity around.
“That’s how Miami has flipped the switch,” says Glus. “People go to Miami for culture as much as they do the beach.”
San Diego has spent decades selling itself backward: Beach and weather first, culture as an afterthought you might stumble into. Glus would love to see the strategy flipped: Visitors should come for the art, “and then, by the way, you’re on the beach.”

“I do think it was a wake-up call for the community,” de Poyen says of the budget fight. “People understand that our funding is vulnerable. It was a lesson in how much power people have when they coalesce. But wow, is it painful.”
Glus says he’s genuinely optimistic. “The players have all changed seats, but the work is moving forward.”
“I believe optimism is a moral duty,” says Martin, who’s both power-fist and polite.
In eight months, there will be another budget fight. Everyone I talked to expects it will be worse. But something happened this spring that can’t be undone.
“I hope this rupture has brought us together in a moment of self-realization,” says Leticia Gomez Franco of the Balboa Art Conservation Center. “I hope we stop being so transactional; we begin to see ourselves and each other as partners in this work.”
That’s the whole ask, really. And it’s on all of us.
This is part of a three-part series. This is Act III. See Act I and Act II here.
Aaryn Belfer is a writer and editor specializing in nonfiction across art, architecture, and culture. Once upon a time, she wrote a provocative column for San Diego CityBeat (RIP). She was a runner up in the 2025 Matchbook Stories contest at the San Diego Central Library and is irrationally happy about it. Currently in her Soft Girl Era, Aaryn has expensive taste in (mostly flat) shoes and will choose a great art exhibit or live jazz concert over almost anything else. Except, possibly, Javier Bardem.
The history, communities, and creative movements behind a cultural scene that extends far beyond the city’s postcard image
This is part of a three-part series. This is Act II. See Act I and Act III here.
Without concrete, wildflowers are just weeds. Any honest history of San Diego art and culture is tension and its reckonings. It begins before the name existed, with the Kumeyaay. It must pass through the Panama-California Exposition, one hell of a county fair that conjured Balboa Park as our grand cultural stage. It pays tribute to the lights of La Jolla, where the donor pool helped realize unrealizable things. It should mention names like Marston, Scripps, Ochoa, DeWitt, Lopez, Klauber, Baldessari, Torres… so many.
In short spaces like this, long histories like that become roll calls. So this is more of a walk through pressure points, notes on recurring forces and regional oddities.
Border life is key to understanding the here of here. Art without dialogue is just decoration. At its best, that dialogue should be a tad muddy, emotionally gassed. In other words, it should be in need of art—to widen perspective, parse meaning, see the unseen.
San Diego’s central dialogue—the magic and the stressor—is being flatmates with Mexico’s second-largest city by population. That makes San Diego a swing-gate of shared and vastly different perspectives, both its own place and something larger. And in no other major city in the US do the fresh flow of ideas from two countries—different governments, laws, mores, expressions, arts, cultures, traditions, economies, loves, and resentments—mingle at such a constant daily rate (due respect to El Paso).
That binational steam created Chicano Park, one of the most uniquely San Diegan contributions to national and international culture. When construction of the I-5 and Coronado Bridge divided Logan Heights, neighbors protested by transmuting prejudicial concrete into redwoods of Chicano art. Turning a civic wound into a beautiful and enduring landmark that expressed and preserved a core identity—like East Side Gallery in Berlin or Constitution Hill in Johannesburg—is damn near the core of what art is supposed to do.
Like any city, the underground-overground friction is crucial in San Diego. Our culture is headlined by institutions that lift creative work onto national and international stages: MCASD, The Nat, SDMA, Centro Cultural de la Raza, the Symphony, WorldBeat Center, The Old Globe, La Jolla Playhouse, Mingei, Museum of Us, Stuart Collection, Timken, ICA, Comic-Con, etc. The next mutations grow in the seams: street murals, music dives, tattoo shops, wheatpasted walls, graffiti, lowriders, surf and skate art (though in San Diego, this is mainstream), pop-up shows, backyard shows, beach raves, any place with room for people and a loose relationship with regulations.

Both art and culture get their power from power. They’re fundamentally a conversation with and retort against dominant structures. San Diego’s most pervasive structure is arguably the most rigid form: the military. Its presence is heavy in the southern tip (Border Patrol), the middle (Navy and MCAS Miramar), and northern edge (Camp Pendleton). The military is San Diego’s largest employer, by a long shot.
Within this plus-sized environment of order and hierarchy, it’s understandable that Shepard Fairey’s “OBEY” posters in the late ’90s struck such a potent chord. The most compelling punk rock is often outside a strong governor’s window. (The “OBEY” series featured an ominous, propaganda-style André the Giant wheatpasted on random ugly surfaces across San Diego—launching Fairey’s style that he eventually used for Obama’s “HOPE” poster.)
Armed forces are often viewed as the absence of creative culture—understandably so, since rogue individual expression feels like a pretty sure way to sink a war effort.
But in San Diego, the Navy’s unsuspecting role as art creator—directly or indirectly—is hard to ignore. Tattoos are a dawn-of-time practice of many early cultures, including the Kumeyaay. But Polynesia was a core realm. Sailors were exposed to it on deployment in the Pacific Rim, inking their arms with the names of loved ones and unit insignia. Back in San Diego, they’d flaunt those tats in the beaches and bars of Mission Beach or PB (Marines did the same in Oceanside.) Enlistees were the muscular flesh galleries that helped turn skin art into one of the city’s most widespread modern art forms.
During WWII, the military also trained huge legions of San Diego laborers how to build war machines. Those mechanics, engineers, machinists, welders, painters, and metal fabricators used those skills for creative good in their neighborhoods—especially in custom car culture, which took off in the post-war ’50s and ’60s. Mexican-American vets helped develop the lowrider scene, a deeply rooted part of San Diego creative expression. Galleries on slow-moving wheels.
Tourism is the other mainstream force ripe for creating against. It is both critical to San Diego’s economy, and one of the greatest barriers to deeper, more nuanced expressions of what and who San Diego is. The industry of selling our city to passers-through creates a gigantic tarp of cultural tropes. It reinforces the most obvious charms—cute zoo animal takes in an epic sunset with a giant margarita—and doesn’t yield much airspace to the thrilling micro-cultures that live and breathe where locals live and breathe. Nothing against watercolors of dolphins, but much against the hegemony of watercolors of dolphins.
Maybe because of these dominant forces, San Diegans especially tend to force underground and institutional art into a needless cage match. It’s human instinct to champion the underdog as more worthy, but that has always felt like a form of articide.

It’s like saying the only good food is made by gritty upstarts who crafted their own whisks from discarded shopping carts. Most of those plucky whisk-makers would love to eventually be paid properly, would love a stage, a grant, a building, a donor, a lighting rig, health insurance, maybe even one chair that doesn’t threaten the spine.
That’s what the major institutions do. Both stages—the duct-taped and the donored—serve vital roles and deserve commensurate support if we care about the entire lifespan of creative expression and not just its first exciting steps. Championing the starving artist exclusively just secures an enduring poverty for the creative class at large.
I’ve often theorized it’s harder to create great art and culture in cities like San Diego, where the climate is supernaturally pleasant. In colder/hotter/rainier/less beautiful cities, people are forced indoors to fabricate their own beauty (the grunge music of Seattle, the obscene creative output of Reykjavík). San Diego’s eternally mild sunshine tends to make the human body our art medium of choice. But scratch the surface of that surf poster (and I’ve only scratched a miniscule percent here), and this city’s far from the cultural shallows it gets accused of being.
Addendum: A Personal Agenda. In scouting the route of art and culture across San Diego county through history, two areas come up again and again: La Jolla and Barrio Logan. So I propose a collaboration between two icons of artful concrete—Chicano Park and Salk Institute (one of the world’s great examples of brutalism architecture). Let Barrio Logan’s muralists go nuts on that coastal science fortress, unite the realms for a moment in time.
This is part of a three-part series. This is Act II. See Act I and Act III here.
Troy Johnson is the magazine’s award-winning food writer and humorist, and a long-standing expert on Food Network. His work has been featured on NatGeo, Travel Channel, NPR, and in Food Matters, a textbook of the best American food writing.
The city’s cultural sector regained millions after a proposed 85 percent cut, yet nonprofits, youth programs and major institutions still face painful losses
This is part of a three-part series. This is Act I. See Act II and Act III here.
Every spring, Christine Martinez reaches out to the arts community to explain what’s on the line, hoping they’ll engage with the city’s budget process. Cultural funding, she constantly reminds, is almost always strapped to the guillotine. Especially in a city strapped for cash.
“It’s not an easy ask,” says Martinez, manager of Arts+Culture:San Diego. “Showing up is a real cost for small, volunteer-run groups that can’t spare half a day at City Council without possibly having to close their doors.”
Then, last April—with one day’s notice to arts leaders—Mayor Todd Gloria proposed a budget that didn’t trim arts funding; it eviscerated it, from $13.8 million to $2 million. An 85 percent slash. Other city departments faced cuts of about 7 percent.
The scheduled date of the cuts was just three months away (beginning of the fiscal year). Organizational leaders have to plan months if not years ahead to run their organizations. They had made hires, dedicated spending, and programmed their seasons based on a reasonable expectation that support for the arts would be somewhat in line with previous years. (The City has allotted at least $7 million a year to arts every year for the last 20 years, and the last four years have ranged between $13.8 and $18.2 million.)
The day felt even more existential given the national and international climate around the arts: namely, the federal government’s repeated proposal to eliminate the country’s two biggest cultural foundations (NEA and NEH), and the global trend of AI replacing more costly human creatives.
“It shocked everybody,” says Kamaal Martin, arts commissioner and co-founder of Art Power Equity. “If the message had been, ‘Times are tough, everybody tighten their belts a little,’ it would have landed differently. But there was no vision offered for the future, no parity in the cut. It was just, essentially, ‘Fuck you.’”
Among things I’m good at—sleeping late, low bidding for expensive shoes on Poshmark, parallel parking on either side of the street—budget analysis isn’t among them. In trying to understand how bad the finances were for San Diego to propose this drastic cut, I found myself drowning in numbers, pie charts, and politi-speak.
In his April 27 newsletter, Gloria explained that balancing the budget means “asking hard questions about every single dollar this city spends: Is this a core responsibility of city government, or is it something we do when we can afford to?”
Fair enough—if he were to ask those hard questions about every single dollar this city spends. It also makes his conclusion clear: The City of San Diego does not view supporting arts and culture as a core responsibility.
Which begs more than a few questions: Should the City be responsible? If not, then who? How crucial are arts and culture to a city? And since this is a budget discussion, how much revenue does the arts and culture industry generate for San Diego? What’s the ROI?

$1.2 billion.
That’s how much economic activity San Diego’s arts and culture nonprofits generated in 2022, according to the City’s latest Arts & Economic Prosperity 6 report. The industry created nearly 17,000 jobs and generated $878 million of personal income for local residents. About 15 percent of the people showing up to arts events in San Diego are tourists, so money was raised through TOT (Transit Occupancy Tax). The activity generated $275.7 million in tax revenue to the city.
In other words, the ROI seems to be ROI-ing.
Still, there have been signs that cuts were coming. In 2025, the City demoted the Department of Cultural Affairs to a division, folding it into the Economic Development Department (EDD). That meant Cultural Affairs no longer had independence, nor its own leader sitting at the same organizational level as departments like parks and recreation, library, police, and fire. It lost institutional leverage and would now have to compete with other EDD priorities—real estate, airport operations, business development, etc.—for budget allocation.
To be clear, few arts administrators and leaders I spoke with are interested in the either/or false choice of funding law enforcement or after-school programs; the fire departments or libraries. They’re sincere in looking for solutions that don’t leave any single group with a greater burden of righting a long-out-of-balance budget.
Jennifer de Poyen, executive director of Space 4 Art, says Gloria had long been a supporter of the arts, which made his attempted Red Wedding especially upsetting.
Aaryn Belfer is a writer and editor specializing in nonfiction across art, architecture, and culture. Once upon a time, she wrote a provocative column for San Diego CityBeat (RIP). She was a runner up in the 2025 Matchbook Stories contest at the San Diego Central Library and is irrationally happy about it. Currently in her Soft Girl Era, Aaryn has expensive taste in (mostly flat) shoes and will choose a great art exhibit or live jazz concert over almost anything else. Except, possibly, Javier Bardem.
ArtsConnect brings those experiences into view, helping residents discover what they can see, hear and create at UC San Diego while experiencing the campus in a new way.
Ask most people what UC San Diego is known for, and the arts may not be the first answer. Yet this fall, San Diegans can watch Ghostbusters with a live orchestra, try their hand at glassmaking and wander among more than 20 works of public art woven throughout the university’s La Jolla campus.
ArtsConnect brings those experiences into view, helping residents discover what they can see, hear and create at UC San Diego while experiencing the campus in a new way.

“The arts are at the heart of UC San Diego’s student-centered mission and vision,” says Alysson Satterlund, Vice Chancellor for Student Affairs and Campus Life. “Whether creating, participating in, or experiencing performances, the arts are essential to a healthy and truly fun Triton student experience.”
That invitation often begins where the arts intersect with other fields.
“Some of the most innovative work and discovery happen where disciplines don’t usually share a stage,” says Cristina Della Coletta, Dean of the UC San Diego School of Arts and Humanities. “So through our unique intersection of the arts with science, technology, and medicine, we are improving lives, physically and emotionally.
Take The Inaudible Ocean, a collaboration between Department of Music Professor Lei Liang and Scripps Institution of Oceanography Assistant Project Scientist Josh Jones. Over eight years, the pair recorded earthquakes, ship noise, whale songs and other sounds in remote underwater locations. They transformed those recordings into a live music experience that allowed audiences to hear the ocean in an entirely new way. The work premiered on campus in May and continues to evolve.
The arts also connect the campus to the global art world and diverse perspectives. Chief Campus Curator Jessica Berlanga Taylor recently curated the Mexico Pavilion at the 61st Venice Biennale, featuring RojoNegro, the collective formed by Noé Martínez and María Sosa. The collective will unveil a compelling new permanent installation for UC San Diego’s celebrated Stuart Collection later this fall.

ArtPower offers another easy entry point, bringing touring performers to venues including the outdoor Epstein Family Amphitheater and the intimate Loft. The nearly three dozen performances featured through its 2026-2027 season span music, dance, film, theater and conversation.
Among the fall highlights is Ghostbusters in Concert on Sept. 25, pairing the beloved 1984 film with a live performance of Elmer Bernstein’s score. Tickets start at $35, and the amphitheater is located next to the UC San Diego Blue Line trolley station.
“Every member of our community should have access to world-class art, so we work hard to remove the barriers that stand in the way,” says Colleen Kollar Smith, executive artistic director of the Campus Performances and Events Office. “That means affordable ticket prices, and performances, voices and experiences where people see themselves reflected on stage and know they belong.”
The arts at UC San Diego are not only something to watch. The Craft Center offers public classes and workshops in ceramics, jewelry, woodworking, culinary arts and even surfboard shaping. At the new Glass Center, beginners and experienced makers can explore glassmaking through classes, demonstrations and studio experiences.
Whether you want to attend a performance, make something yourself or spend an afternoon exploring public art, there is an easy way in. And the invitation extends well beyond students and alumni.
Kollar Smith says it best: “Visit, participate, spectate or create. You’re invited, and we hope you’ll connect with us soon.”
Explore upcoming experiences at ucsd.edu/artsconnect.
Meet the artists, makers, and advocates whose work shapes how the city looks, sounds, gathers, and connects
San Diego is full of people who deserve a few thousand words on what they make, who they bring together, and how their work changes the city around them. The artists, makers, advocates, and behind-the-scenes talent below are a small part of that larger ecosystem.
To help us narrow our list, we looked for names that kept coming up, work that reflects the diversity of our region, and people building something bigger than themselves.
Jackie is a long-time freelance journalist covering cannabis, food/restaurants, travel, labor, wine, spirits, arts & culture, design, and other topics. Her work has been selected twice for Best American Travel Writing, and she has won a variety of national and local awards for her writing and reporting.
Isabella Dallas is a freelance writer for San Diego Magazine and the Arts and Culture Editor at The Daily Aztec in her final year at San Diego State University. She previously worked as an editorial intern for SDM, but when she’s not writing, you can find her trying the best coffee spots in SD, devouring the latest rom-coms, and indulging in anything and everything pop culture.
Matt Eisenberg is an award-winning writer and photographer based in San Diego. A former ESPN editor, his work has also been published by CNN, Bleacher Report and the New York Daily News.
Aaryn Belfer is a writer and editor specializing in nonfiction across art, architecture, and culture. Once upon a time, she wrote a provocative column for San Diego CityBeat (RIP). She was a runner up in the 2025 Matchbook Stories contest at the San Diego Central Library and is irrationally happy about it. Currently in her Soft Girl Era, Aaryn has expensive taste in (mostly flat) shoes and will choose a great art exhibit or live jazz concert over almost anything else. Except, possibly, Javier Bardem.
Leorah Gavidor won her first essay contest at age 5. She writes features, news, and non-fiction in San Diego.
Lili Kim is a content coordinator and writer for San Diego Magazine, with experience highlighting local businesses and communities. When not writing or shooting film, she is likely brewing her seventh cup of tea of the day or strolling along Sunset Cliffs.
Emma Veidt is an editor at San Diego Magazine. She earned her bachelor's and master's degrees from the Missouri School of Journalism. She loves running, hiking, and rock climbing, but really, she mostly loves encounters with the street cats around North Park.
Gail Czyszczon is owner/copywriter at Z3 Writing and best-selling author of a children’s book series. As a strategic communications professional and editorialist, she's passionate about discovering untold stories and themes that ignite fresh conversation and true change in communities.
For Jonathon Glus, San Diego’s next chapter begins with the artists who help us understand where we’ve been
Some ancient philosophers believed that humans experience seven-year life cycles or phases of life. Some went so far as to believe that every cell in the body regenerates every seven years.
Much later, in the 1800s, Austrian philosopher, architect, and social reformer Rudolf Steiner developed anthroposophy—an integration of science, art, and spirituality—into his understanding of the human experience. Steiner believed that each of us changes every seven years—from spiritual beliefs to physical evolution—and art is the connective tissue through each of these cycles. Still today, Steiner’s teachings are foundational to the principles of Waldorf education.
While I’ve certainly experienced more than a few human life cycles of my own, I believe that, just like us, cities have their own life cycles.
Cities are living organisms, regenerated every day by the people that live, work, and gather there. Environmental changes, human migration, economic shifts, technological advances, politics, and public policy—they all inform a city’s evolution, sometimes intentionally and sometimes by forces outside of our control. But ultimately, we as humans respond, adapt, and sometimes make our most important new advances.

In the aftermath of World War II, in 1947, the Edinburgh International Festival was established to promote international peace through the performing arts. Today, that festival continues as a global gathering place to experience some of the world’s most innovative dance and theater.
In post-revolution Mexico, that country’s government launched a monumental muralism program to celebrate the history of its Indigenous cultures. Today, that tradition still informs the way Mexico tells its stories and how we understand its history.
Here in the US, the National Endowment for the Arts was established in 1965, at a time when the arts were seen as part of our national strength and resilience. For the first time, federal funds were directed to communities across the country to invest in the arts at a local level.
San Diego may be relatively young as a major American urban center, and even younger on the world stage, but our region as home to humans is ancient. Today, we love a San Diego that is built on roads and traditions of the Kumeyaay Nation, where we share a modern mega-region with our sister city and cultural twin, Tijuana, on unceded Kumeyaay land.
History has shown us that the arts generate the very human connection and understanding that allows our politics, policies, technological advances, and human migration to move forward. In that way and more, the arts are the very heartbeat of our city.
In this issue of San Diego Magazine, we celebrate the artists, creatives, culture bearers, and workers who keep our region connected and in conversation as we take on challenges big and small—internationally as well as on our own neighborhood streets.
Artists are our storytellers. They respond to and chronicle the best and the worst of us—our foibles and weaknesses, our struggles, and, undeniably, our successes.
Now: a look back into the past seven years in history. They have not been a walk in the park, with a pandemic, global unrest, and shifting domestic politics as only a few forces that have challenged our lives and our region. Together, we experienced some of our greatest struggles and witnessed tremendous resilience.
That’s exactly why this is an exciting time for the arts in San Diego. We are on the precipice of an even more fertile, sustained, and inclusive time for the arts in our region.
In some ways, Covid seems like an eternity ago. I remember all too well the massive economic impact on our cultural institutions, some of which have never fully recovered. I remember the mass layoffs of the workers who keep our arts institutions going and the teaching artists who were suddenly out of work.
I also remember the poets, filmmakers, actors, and musicians who helped us grapple with the disruptions of the pandemic. Our communities became virtual, and artists gave us the space to make sense of it all.
In fact, a common phrase emerged from the Covid: artists as second responders.
Still today, I think about the short film made by San Diegans Susanna Peredo Swap and Gill Sotu called History of Joy, which captured so brilliantly what we were experiencing during those days of lockdown.
Since then, as an arts community, we’ve pushed forward transformational work that we will continue to build upon in this next seven-year cycle and well beyond.
Hundreds of artists and culture bearers have spent the past several years going to work with community groups across the region as part of Far South/Border North, our region’s component of the California Arts Council’s groundbreaking artist work program, Creative Corps. The impact resonated so deeply that local government and philanthropy partnered for a second iteration, Artist Count, this time a binational initiative launched just a few months ago.
We’ve invested mightily in cultural infrastructure. Need some examples? There’s the reimagined Jacobs Music Center and Museum of Contemporary Art San Diego, the Black Arts & Culture District, the state designation of Arts District Liberty Station, and now the burgeoning Art + Design District downtown.
World Design Capital San Diego Tijuana 2024 elevated what we already knew—that the two neighboring cities are culturally and creatively intertwined as one region—and boosted our global presence as a creative juggernaut. Artists, designers, and community leaders worked together to produce more than 600 events across our region that year, and the impact continues.
And “Creative City,” the City of San Diego’s first cultural plan that incorporates arts and culture advancements in the city’s development, was crafted by thousands of San Diegans as a roadmap to take us into the future.
Here’s what I know about the past seven years: San Diego’s artists, creatives, and culture bearers showed up for our region as our storytellers, second responders, and creative workforce.
And for the next seven? San Diego will morph and change, as every city does. Sometimes because of us, sometimes in spite of us. But our city’s creative community has a solid foundation on which to build, led by the artists who witness and tell our stories each and every day.
—Jonathon Glus, Conrad Prebys Foundation’s Senior Fellow for Art and Design in Residence at the Downtown San Diego Partnership
Laika Nur, MD, takes her love of volleyball from the court to the clinic as team physician for the San Diego Mojo
Growing up, Laika Nur, MD, Scripps Clinic sports medicine specialist, loved watching beach volleyball when the Association of Volleyball Professionals tour came to her hometown of Chicago. A talented volleyball player herself, she remembers sitting in the stands all day, and once, even got a couple autographs. Years later, Dr. Nur was attending a professional event focused on women’s sports, and the discussion turned to a new professional women’s volleyball league. The general manager and coaching staff for San Diego’s team, the Mojo, happened to be in attendance, and Dr. Nur took the opportunity to ask them if they needed a team doctor. Flash forward to the Mojo’s inaugural 2024 season, when Dr. Nur officially became the team physician. Click here to read more about Dr. Nur and how she incorporates lessons she learned on the court into her practice.
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