ORONO – The stage at the Maine Center for the Arts became a painted cave Wednesday evening as flutist Robert Mirabal and the Raretribalmob brought the stories, traditions and hopes of the Taos Pueblo Indians of New Mexico to the University of Maine.

Emerging from the dark into mottled patches of light, Mirabal used a strong control of his breathing to produce moans, hums, trills and shrieks from his carved wooden flutes, examples of which are on display at the Smithsonian Institution.

He and five other dancers alternately weaved slowly, knelt and reached for the sky as they acted out life of the people at Taos Pueblo, once a trading place for many tribes at 7,000 feet above sea level.

Some of the songs were in his native Tiwa language, but Mirabal also sang a good portion of the concert in English, which helped make the stories accessible.

The audience included many Americans Indians from Maine, among them Penobscot and Passamaquoddy youth attending as school groups.

Indeed, the program offered both a history lesson and hope for the future to young people of all backgrounds as Mirabel urged them to embrace pride and responsibility rather than blame problems on others.

Yet he also acknowledged the struggles of American Indians in songs such as the traditional “Ee-You-Oo,” which described the fates of children when they became men and women. The refrain “See Tse Na” translates to “one who cries a lot.”

The music of Mirabal, 32, has been compared to that of native flutist R. Carlos Nakai, and his playing certainly evokes memories of Nakai’s haunting melodies.

But Mirabal also has acknowledged John Mellencamp as an influence, and the band played several songs in the rock ‘n’ roll mode, provoking cheers from the teen-agers.

The romantic highlight of the concert was a courtship tune Mirabal played on flute – an instrument known as a Toop Poo Tsee Nah and considered to have magical powers over the opposite sex. The notes seemed to flow over a kneeling Indian woman as he stood back, then moved closer and leaned over, tenderly laying his head next to hers.

The most powerful elements of the evening were also the most visual – Fabian Fontanelle’s exquisite dance in full regalia – a beautiful costume festooned with feathers – including wings.

During Act Two, the troupe led off with the Giant’s dance, as Mirabal and two other men in modern dress knelt quietly. Soon the stage was overtaken by a “giant” – a stilt walker with painted face, moving aggressively around the trio.

His intentions seemed unclear as he gestured with an oversized staff, but then laid it in Mirabal’s hands – passing knowledge to the next generation. Then, most effectively, another of the men rose, passed the giant another staff shaped like a cane, and guided him off the stage.

At concert’s end came a truly poignant experience. Black-and-white movies and slides of the Taos Pueblo people – some of them from many years ago – flashed on a screen as the dancers and musicians left the stage.

The background music stopped as Mirabal was stretched out on the stage, leaning back on his elbows and watching the pictures with the audience – in silence.

Though known primarily as a flautist and singer, the musician also played the didgeridoo, a wind instrument from a hollowed branch, and displayed drumming talents worthy of a show of their own.

The other musicians also were fine, with special credit due the resonant musicality of cellist Michael Kott and the nimble fingers of lead guitarist Estevan Castillo.

Many of the songs came from Mirabal’s newest album for Silver Wave Records, “Taos Tales.” After his current tour finishes, he will film a PBS special, “Music from a Painted Cave.”

Watch for it early next year.