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By the mid 19th century in that region, there were two main groups of loosely organized armed outlaws: the jagunços, mercenaries who worked for whoever paid their price, usually land-owners who wanted to protect or expand their territorial limits and also deal with farm workers; and the cangaceiros, "social bandits", who had some level of support from the poorest population. The 1920s and 1930s saw the height of cangaceiro activity, with the most prominent bands numbering up to as many as 100 bandits. The bandits often behaved well to the poorer sections of society performing acts of charity, buying goods for higher than usual prices from small shopkeepers and giving free parties ("bailes"). In contrast, the wealthy were robbed, targeted for forced monetary contributions (extortion) and were often kidnapped and held to ransom. The cangaceiro bands were sheltered by helpers within the population, who also provided information which helped them escape from police forces, known as volantes, sent by the government to destroy them. The poorer inhabitants of the backlands of the Brazilian Northeast were generally badly treated by the paramilitary police, and often preferred the presence of cangaceiro bands in their settlements.[1]
This can work somewhat as An Aesop about tolerance and not dismissing individuals from underprivileged groups, and it's certainly an improvement on earlier tendencies to either never depict minority characters at all or make them all villains. However, ultimately it's usually a moral and artistic shortcut, replacing a genuine moral message with a well-intentioned but patronizing homage to the special gifts of the meek. Minority characters still all too often aren't portrayed as the heroes of their own stories, but as helpers of standard white, able-bodied, middle-class heroes, and they aren't depicted as, you know, actual people with their own desires, flaws and character arcs, but as mystical, Closer to Earth plot devices.
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