The passing of Libyan artist Khaled Kafu after a long artistic career in comedy and drama

With the departure of Cafu, the Libyan art scene loses one of the artists whose names have been associated with Libyan comedy for many years, after he succeeded in leaving a special mark through his presence on stage and television, and he was able to reach the audience in a manner close to the details of daily life and the local environment.

Khaled Kafu is one of the well-known faces in the Libyan artistic community, and during his career he formed a prominent artistic duo with the artist Abdel Basset or Qandah, an experience that the artistic circles considered one of the comedic duos that left a presence in the memory of the Libyan public.

The late artist's career was not limited to one artistic genre, as he moved between comedies and dramas, and participated in a number of television productions that brought together different generations of Libyan artists.

One of the most prominent works related to his career is the series “Hey Haki”, in addition to his participation in the series “Zanqat Al-Rih” in 2019, which represented a prominent station in modern Libyan drama, and more than 250 artists from Libya and the Arab world participated in it.

In “The Street of the Wind,” which dealt with aspects of social life in the city of Tripoli during the post-World War II period, Cafu returned to the screen in a historical drama that received wide follow-up, confirming the continuation of his artistic presence after many years of work in the field.

Khaled Kafu continued his artistic participation in recent years, as he appeared in works including “Al-Najdain” in 2023, “Withdrawal Symptoms” and “Hadrazi 12” in 2025, before recording one of his most recent participations in the series “Al-Qarar” in 2026, embodying the character “Abu Bakr.”

These works reveal the extension of an artistic career during which Cafu maintained his presence, moving between different roles and characters, and keeping pace with the transformations witnessed by Libyan television production.

Cafu gained a special status among a wide segment of the Libyan audience, especially through his comedies and characters that were close to the local dialect and environment.

In a country whose artistic sector has faced major challenges for decades, artists from Khaled Kafu’s generation remain part of the memory of Libyan theater and television, preserving the presence of local art and its ability to reach the public despite the limited production in different periods.