Angele Galea (left)
Angele Galea has acted in various theatre productions including Edward Albee’s Who’s Afraid of Virginia Woolf (Manoel, 2004), Alfred Buttigieg’s Dwar Menopawsi, Minorenni u Muturi High Speed (St James, 2012), the monologue Apotheosis (2019), penned, produced and acted in Waħda Minna (2019 – now being developed as a film), Stephanie in the two hander L-Interrogazzjoni (Teatru Malta, 2020) and more monologues in Her Say (Spazju Kreattiv, 2022, 2024). She has also acted in several films including Largo Winch (Pan-Européenne, 2007), Agora (Cinébiss, 2008), Beat (Falkun Films, 2018), Lost Planet (Latina Pictures) and Project Icon (Pellicola).
She was the artistic director of Science in the City and the education coordinator for Valletta 2018. She has acted in various TV adverts and lent her voice for a number of radio adverts. She holds Fellowships in Piano Performance and Music Theory and was a presenter on TVM for Maltco Lotteries. She is currently a presenter on RTK103 where her interview programmes highlight the lives of artists, researchers and activists, plus another programme dealing with a UN Security Council resolution 1325 on women and peace and security, in collaboration with the Ministry for Foreign and European Affairs and Trade. Additionally she is artistic director for More or Less Theatre and Give or Take Productions. She is a theatre practitioner (design, set, costumes, make up).
Angele is a registered teacher of Art, history and technique, Piano Performance and Music Theory. She has taken part in various collective exhibitions with her paintings, as well as solo exhibitions, the latest one being “The Insanity of Vanity”. She has worked on various community project in collaboration with different entities such as Fondazzjoni Sebħ and Science in the City. Last year she finalised a research project in collaboration with Dr Tyrone Grima “Strong Women in the Bible”. Now she is gearing up to work on a collaborative performance in 2025 that juxtaposes the theme of colonialism and oppression against women. She co-won the Brighton Fringe Awards for Best Newcomer (2022) for writing “The Trials of Magnus Coffinkey”.
She is an independent member of Malta Women’s Lobby and an alternate member of European Women’s Lobby.
Professor Carmen Sammut (right)
Prof. Carmen Sammut was appointed Pro-Rector for Student and Staff Affairs and Outreach at the University of Malta in 2016. Her responsibilities include implementing the University’s Strategy for societal impact and chairing the University’s Equity Committee, which is responsible for the Gender+Equity Plan. She also chairs the Access Disability Support Committee, the Institute for European Studies, and the International School for Foundation Studies. In her role, she serves on the University Senate and Council.
Prof. Sammut holds teaching positions in the Department of Media and Communications and the Department of International Relations, where she previously served as Head. Her academic background includes a PhD in Media and Communications from Goldsmiths College, University of London, with research, publications, and teaching interests spanning journalism, international communications, international affairs, political communication, and gender studies.
From 2017 to 2020, she led a technical committee instrumental in introducing affirmative measures that resulted in constitutional changes establishing a Gender Corrective Mechanism to increase women’s representation in the Maltese Parliament. In 2025, she completed a study on taking an intersectional approach for a fairer representation in local councils. In 2022–23, she served on a government-appointed media experts committee to advise on legal reforms, including anti-SLAPP legislation and proposals to enhance journalist security. Additionally, in 2021, she briefly held the role of Chair at Public Broadcasting Services, where she began her journalism career in the early 1980s. She has been actively engaged in advancing gender equality within trade unions, politics, and the media since her student years in the 1980s.
(Photo Credit: Therese Debono)
