While her sights are firmly set on a spot in the Australian Olympic team for Tokyo 2020, skateboarder Aimee Massie is also using her sporting talents to assist local community projects.

Zindzi Okenyo is asserting herself through her art – on stage, on screen and in the recording studio. Here, the singer-songwriter and actor talks about growing up in different parts of Australia, travelling to her father’s birth country, and being comfortable in her own skin. “The older that I’ve gotten, the more it seems to me the way to be better is to know yourself as much as possible and then relax into it.”

As Rosslynd Piggott prepares for I Sense You But I Cannot See You – the second retrospective of her career at the National Gallery of Victoria – she reflects on her childhood in Frankston, her ambition as a young artist and her life’s work. “I did a year of teaching in 1981 in the remote Victorian country at Werrimull. I’d just come out of post-punk Melbourne, thrust up there in the middle of nowhere. I was never going to do three years up there. After that, I just ran away, basically, to St Kilda, doing dishwashing and waitressing. I knew I wanted to be an artist.”

Whether singing about the bloody past of the country of her birth in metal band High Tension, or in the wordless growls and screams of Speechless, a new opera about the Forgotten Children, Karina Utomo finds catharsis in unleashing her powerful voice. Etched into her memory is the burning down of a music store, which sold cassettes because CDs remained a luxury item. The shop, she says, was targeted because it was owned by Chinese Indonesians, the long-time targets of racist scapegoating. “Buying music with my father was a treat. That was somewhere we had gone every week and it symbolised access to music, to engage in a culture with which I connected.”

As a gay Aboriginal Australian who grew up in a largely white world, Joel Bray found purpose and identity through dance. His latest work – the intimate solo performance Biladurang – blends choreography and theatre in a raw exploration of his own very personal journey. “I’ve had people hug me, I’ve had people crying, I’ve had people share their stories of discovering their Aboriginality late in life.”

STC’s production of Patrick White’s darkly comic A Cheery Soul shows that the story of ‘monstrous’ nursing home resident Miss Docker is a still-relevant examination of the loss of agency in old age.

Kate Mulvany’s adaptation of Ruth Park’s still-resonant The Harp in the South trilogy for the STC boasts perfect casting for its darkly comic tale of gentrification and community.

Comedian Zoë Coombs Marr created her male alter-ego Dave in order to critique the sexist culture of the stand-up scene, and it has taken years for her to feel ready to take the stage as herself again. “I never made Dave with the intention of being cruel or laughing at people, or going, ‘That guy sucks.’ ”

Stephen Page has known acclaim and accolades as head of Bangarra Dance Theatre. Off stage he’s had more than his fair share of personal tragedy. Here, he talks to about family, his latest show, Dark Emu, and the power of language to change Australia. “Through this symbolism of visual art and story, under that came this kinship idea of connection to land, people and story. That’s why lore and customs exist.”