A shadow-puppet performance of an ancient Indonesian story and an orchestral concert featuring a setting of four poems by a noted Maine poet will distinguish ÀÖ²¥´«Ã½ among local arts presenters this weekend.

At 8 p.m. Friday, Nov. 12, the ÀÖ²¥´«Ã½ College Orchestra presents a program including conductor Philip Carlsen’s setting of poems by renowned Maine writer Wesley McNair.

At 8 p.m. Saturday, Nov. 13, Indonesian puppet master Joko Susilo will present a shadow-puppet performance of “The Abduction of Sinta,” a central story from the Hindu epic Ramayana. Susilo will be accompanied by the ÀÖ²¥´«Ã½ Gamelan Mawar Mekar (“blossom of inspiration”), an Indonesian-style gamelan orchestra, and guest musicians from New Hampshire and Minnesota.

Both events take place in the Olin Arts Center Concert Hall at ÀÖ²¥´«Ã½, 75 Russell St., and are open to the public at no charge. For more information, please call 207-786-6135.

The orchestral concert features Four Journeys in Maine, a 1989 composition by ÀÖ²¥´«Ã½ faculty member and orchestral director Philip Carlsen. This piece is a setting of works by award-winning poet McNair, author of the collections My Brother Running and Fire. McNair and Carlsen are colleagues at the University of Maine at Farmington, where the poet directs the creative writing program and Carlsen is a professor of music.

Soprano Christina Astrachan, of the ÀÖ²¥´«Ã½ music faculty, is featured vocalist on the Carlsen work. Each movement of Four Journeys evokes a place, or a sense of place — a late-night drive in the country, a Farmington street in the snow, a decrepit building in the potato fields of Mars Hill, birdwatching on Monhegan Island.

The orchestra will also perform Haydn’s Symphony No. 99 in E-flat and Borodin’s In the Steppes of Central Asia.

Joko Susilo belongs to the eighth generation of “dalangs” — shadow-puppet masters — in his family, and also composes and teaches gamelan music. Although Indonesia today is predominantly Muslim, a period of Hindu rule beginning in the seventh century left a cultural legacy that remains robust.

“Wayang kulit,” the puppet theater form practiced by Susilo, derives many of its stories from the Hindu epics Mahabarata and Ramayana. On Nov. 13 he will perform a central episode from the latter.

It’s the story of the battle between Rama, a semi-divine king, and the demon-king Rawana. Rawana, smitten by the beauty of Rama’s wife, Sinta, asks a servant to help him kidnap her.

The servant transforms himself into a golden deer, which Sinta asks Rama to catch for her. “This evil deer tricks Rama away from Sinta, far away in the middle of the forest, so then Rawana can take Sinta from Rama,” Susilo explains.

“Rama’s friend, the gigantic bird Jatayu, tries to save Sinta,” he continues, but Rawana kills the bird and reclaims Sinta. Finally, Rama enlists the aid of a monkey god and his followers to fight Rawana, and an epic battle ensues between the monkey army and the giant soldiers of Rawana.

“The story ends with the reunion between Sinta and her husband, Rama,” says Susilo. “Happy ending.”

More than mere fantasy, the story and the epic from which it’s derived are rich in moral lessons, Susilo says. “In the puppets we have a lot of philosophy. If you watch the puppets it’s like you’re watching yourself in the mirror. You will find yourself, because many, many characters appear on the screen — ‘Oh, that’s like me.’ ”

“Rama is the incarnation of wisdom, the god of law,” and exemplifies good leadership, he continues, and the play will offer lessons, about leadership and other subjects, that won’t be lost on observers of contemporary politics. “It’s for everybody — for children, adults, all people.”

The guest artists are Jody Diamond, a New-Hampshire-based singer and international expert on gamelan, and Nicole Erickson, a gamelan musician from Minnesota.

ÀÖ²¥´«Ã½ is unique in Maine and distinguished nationally for its resources in Indonesian performing arts, especially its extensive collection of shadow puppets — around 250 — on permanent loan by David Eisler, of Dover, N.H.

“Only a few schools in the United States have a complete set of puppets,” Susilo says. “There are more than 500 gamelan groups, but the complete puppets are very few.”

A lecturer in the music department at the University of Otago, Dunedin, New Zealand, he is teaching at ÀÖ²¥´«Ã½ through the college’s first-ever grant from the Fulbright Scholar-in-Residence Program. He was born into a family of dalangs in a village in Central Java, Indonesia. At the age of 3, his father began taking him to performances, and at age 10 he performed his first all-night wayang kulit play.

He finished his doctorate at Otago in 2000. In the United States, Susilo has taught and performed at the Kennedy Center in Washington, D.C, at Dartmouth and at the University of Virginia, among other venues. Internationally he has worked in the United Kingdom, Australia and the Netherlands, and brought his Padhang Moncar gamelan group from Victoria University, Wellington, New Zealand, on tour in Indonesia.

The Memory of Salt, a play written by Lisa Maurizio, associate professor of classical and medieval studies at ÀÖ²¥´«Ã½ College, will be performed at 8 p.m. Friday and Saturday, May 21 and 22, in the college’s Perry Atrium, Pettengill Hall.

The public is invited to attend at no charge. For more information, please call 207-786-8391.

The story of a mother’s quest to bury her child, The Memory of Salt takes place in the aftermath of the Greek conquest of Troy (although the play’s simultaneous debut with the Brad Pitt film is coincidental).

“It looks at the question of desire and the degree to which it makes us human and binds us to one another,” says Maurizio, “or entraps us and compels us to do things that are perhaps not very good.”

The play features choreography by the incoming head of the ÀÖ²¥´«Ã½ dance program and music by faculty and a resident scholar involved with the ÀÖ²¥´«Ã½ gamelan, a type of Indonesian musical ensemble. In theatrical terms, Salt borrows from two traditions: ancient Greek and Japanese “noh” drama.

But it represents the culmination of a collaboration among Maurizio, director John Ambrosino — a 2001 ÀÖ²¥´«Ã½ graduate and founder of the Boston theater company the Animus Ensemble — and the late Ellen Seeling, a theatrical designer and associate professor of theater at ÀÖ²¥´«Ã½.

The three shared a “vision of world theater,” said Maurizio, and earlier collaborated on which Maurizio wrote, Seeling designed and Ambrosino directed last year, both at ÀÖ²¥´«Ã½ and in Boston with his own company to good reviews.

In particular, Maurizio, Seeling and Ambrosino were intrigued by the stylized aspects of ancient Greek theater and noh, traditions that emerged from very different cultures and historical periods but had in common a variety of formal devices or practices.

“Both began in outdoor theaters,” Maurizio says. “They began in religious festivals, they used all-male actors wearing masks, they involved music and dance, they have choruses, and they have only one to two protagonists.”

Maurizio credits the creative vision of her colleagues for the inspiration to write the piece. In particular, she says, “this play could not have happened without Ellen and I collaborating together three or four years ago” on other projects.

In the spirit of that collaboration, faculty from other areas contribute to the Salt production. Carol Dilley, visiting assistant professor of dance, provides choreography, while the music is created by visiting Fulbright scholar Joko Susilo, working with the ÀÖ²¥´«Ã½ College Gamelan Mawar Mekar, led by Gina Fatone and Rose Pruiksma of the music faculty.

The Costas and Mary Maliotis Charitable Foundation provided significant funding for the project. Ambrosino’s participation is supported by the Mellon Learning Associates Program in the Humanities at ÀÖ²¥´«Ã½.

The public is invited to attend at no charge. For more information, please call 207-786-8391.

The story of a mother’s quest to bury her child, The Memory of Salt takes place in the aftermath of the Greek conquest of Troy (although the play’s simultaneous debut with the Brad Pitt film is coincidental).

“It looks at the question of desire and the degree to which it makes us human and binds us to one another,” says Maurizio, “or entraps us and compels us to do things that are perhaps not very good.”

The play features choreography by the incoming head of the ÀÖ²¥´«Ã½ dance program and music by faculty and a resident scholar involved with the ÀÖ²¥´«Ã½ gamelan, a type of Indonesian musical ensemble. In theatrical terms, Salt borrows from two traditions: ancient Greek and Japanese “noh” drama.

But it represents the culmination of a collaboration among Maurizio, director John Ambrosino — a 2001 ÀÖ²¥´«Ã½ graduate and founder of the Boston theater company the Animus Ensemble — and the late Ellen Seeling, a theatrical designer and associate professor of theater at ÀÖ²¥´«Ã½.

The three shared a “vision of world theater,” said Maurizio, and earlier collaborated on Tereus in Fragments, which Maurizio wrote, Seeling designed and Ambrosino directed last year, both at ÀÖ²¥´«Ã½ and in Boston with his own company to good reviews.

In particular, Maurizio, Seeling and Ambrosino were intrigued by the stylized aspects of ancient Greek theater and noh, traditions that emerged from very different cultures and historical periods but had in common a variety of formal devices or practices.

“Both began in outdoor theaters,” Maurizio says. “They began in religious festivals, they used all-male actors wearing masks, they involved music and dance, they have choruses, and they have only one to two protagonists.”

Maurizio credits the creative vision of her colleagues for the inspiration to write the piece. In particular, she says, “this play could not have happened without Ellen and I collaborating together three or four years ago” on other projects.

In the spirit of that collaboration, faculty from other areas contribute to the Salt production. Carol Dilley, visiting assistant professor of dance, provides choreography, while the music is created by visiting Fulbright scholar Joko Susilo, working with the ÀÖ²¥´«Ã½ College Gamelan Mawar Mekar, led by Gina Fatone and Rose Pruiksma of the music faculty.

The Costas and Mary Maliotis Charitable Foundation provided significant funding for the project. Ambrosino’s participation is supported by the Mellon Learning Associates Program in the Humanities at ÀÖ²¥´«Ã½.

ÀÖ²¥´«Ã½ College presents performances of Indonesian shadow puppetry and gamelan music at 8 p.m. Friday, March 19, and 3 p.m. Saturday, March 20, in the Olin Arts Center Concert Hall, 75 Russell St.

The performances are open to the public at no cost.

The performers are the Gamelan Mawar Mekar (“blossom of inspiration”), ÀÖ²¥´«Ã½’ own gamelan orchestra; singer Jody Diamond, a New-Hampshire based international expert on gamelan; and puppetry master Joko Susilo, a visiting Fulbright scholar at ÀÖ²¥´«Ã½ this year and a lecturer in the Department of Music at the University of Otago, Dunedin, New Zealand.

ÀÖ²¥´«Ã½ is unique in Maine and distinguished nationally for its resources in these performing arts, including the 4-year-old gamelan ensemble and an extensive collection of shadow puppets — around 250 — on permanent loan by David Eisler, of Dover, N.H.

The gamelan is the traditional orchestra of Java and Bali that is most familiar to the rest of the world. Its gongs, drums and xylophones are played according to systems of pitch and timing very different from typical Western music. The players in the ÀÖ²¥´«Ã½ ensemble include students and faculty, and work under the direction of visiting assistant professors of music Gina Fatone and Rose Pruiksma.

The shadow-puppet story for the performances, Pruiksma explains, comes from the Mahabharata, an ancient Hindu epic of India brought to Java by Indian colonists hundreds of years ago. Titled Bima Builds a Kingdom, the tale depicts the character Bima cutting down a magic forest, fighting giants, falling under a magic spell and being freed by an ogre.

“While a traditional performance of this story could last all night, our version will be about an hour and a half long,” Pruiksma says.

The gamelan will also take part in ÀÖ²¥´«Ã½’ World Music Weekend next month. The group will perform with the ÀÖ²¥´«Ã½ Steel Pan Orchestra on Saturday, April 3, and will welcome MIT’s Balinese Gamelan Galak Tika for a concert on Sunday, April 4.

Thanks to the college’s first-ever grant from the Fulbright Scholar-in-Residence Program, an expert in traditional Indonesian forms of music and shadow puppetry is currently in residence at ÀÖ²¥´«Ã½ College.

Joko Susilo comes to ÀÖ²¥´«Ã½ from New Zealand, where he is a lecturer in the Department of Music at the University of Otago, Dunedin. He is both a “dhalang” — a master in the Indonesian shadow puppet tradition called “wayang” — and a composer of music for the percussion orchestra called gamelan, which is closely connected with the puppetry style.

ÀÖ²¥´«Ã½ is unique in Maine and distinguished nationally for its resources in these Indonesian performing arts. The college has its own gamelan instruments and a 4-year-old gamelan performing ensemble, the Gamelan Mawar Mekar (“blossom of inspiration”). It also has the use of an extensive collection of puppets — around 250 — on permanent loan by David Eisler, of Dover, N.H.

The gamelan is the traditional orchestra of Java and Bali that is most familiar to the rest of the world. Its gongs, drums and xylophones are played according to systems of pitch and timing very different from typical Western music. The players in the ÀÖ²¥´«Ã½ ensemble include students and faculty, and work under the direction of visiting assistant professors of music Gina Fatone and Rose Pruiksma.

ÀÖ²¥´«Ã½ audiences can hear and see the Gamelan Mawar Mekar in concert this spring. On Friday, March 19, the gamelan musicians will accompany a puppet performance by Susilo. The gamelan will also take center stage at ÀÖ²¥´«Ã½’ World Music Weekend, April 2-3, when the group will perform with the ÀÖ²¥´«Ã½ Steel Pan Orchestra on Saturday, April 3, and will welcome MIT’s Balinese Gamelan Galak Tika for a concert on Sunday, April 4.

During the past three years ÀÖ²¥´«Ã½ has welcomed visiting artists in a variety of Indonesian traditions, Pruiskma says. “In each instance, our ensemble became stronger and brought some outstanding performances to the whole ÀÖ²¥´«Ã½ and the larger community.”