Aunt Jemima was modeled after, and has been a famous example of, the "Mammy" archetype in the Southern United States. Due to the "Mammy" stereotype's historical ties to the Jim Crow era, Quaker Oats announced in June 2020 that the Aunt Jemima brand would be discontinued "to make progress toward racial equality", leading to the Aunt Jemima image being removed by the fourth quarter of 2020.
In June 2021, amidst heightened racial unrest in the United States, the Aunt Jemima brand name was discontinued by its current owner, PepsiCo, with all products rebranded to Pearl Milling Company, the name of the company that produced the original pancake mix product. The Aunt Jemima name remains in use in the brand's tagline, "Same great taste as Aunt Jemima."
Nancy Green portrayed the Aunt Jemima character at the 1893 World's Columbian Exposition in Chicago and was one of the first Black corporate models in the United States. Subsequent advertising agencies hired dozens of actresses to perform the role as the first organized sales promotion campaign.
âŚ. The earliest advertising was based upon a vaudeville parody, and it remained a caricature for many years.âŚ.
Aunt Jemima is based on the common enslaved "Mammy" archetype, a plump black woman wearing a headscarf who is a devoted and submissive servant.Her skin is dark and dewy, with a pearly white smile. Although depictions vary over time, they are similar to the common attire and physical features of "mammy" characters throughout American history.
The term "aunt" and "uncle" in this context was a Southern form of address used with older enslaved peoples. They were denied use of English honorifics, such as "mistress" and "mister".
A British image in the Library of Congress, which may have been created as early as 1847, shows a smiling black woman named "Miss Jim-Ima Crow", with a framed image of "James Crow" on the wall behind her. A character named "Aunt Jemima" appeared on the stage in Washington, D.C., as early as 1864. Rutt's inspiration for Aunt Jemima was Billy Kersands' American-style minstrelsy/vaudeville song "Old Aunt Jemima", written in 1875. Rutt reportedly saw a minstrel show featuring the "Old Aunt Jemima" song in the fall of 1889, presented by blackface performers identified by Arthur F. Marquette as "Baker & Farrell". Marquette recounts that the actor playing Aunt Jemima wore an apron and kerchief.
However, Doris Witt at University of Iowa was unable to confirm Marquette's account. Witt suggests that Rutt might have witnessed a performance by the vaudeville performer Pete F. Baker, who played characters described in newspapers of that era as "Ludwig" and "Aunt Jemima". His portrayal of the Aunt Jemima character may have been a white male in blackface, pretending to be a German immigrant, imitating a black minstrel parodying an imaginary black female enslaved cook.
Marketing materials for the line of products centered around the "Mammy" archetype, including the slogan first used at the 1893 World's Columbian Exposition in Chicago, Illinois: "I's in Town, Honey".
At that World's Fair, and for decades afterward, marketers created and circulated fictional stories about Aunt Jemima. She was presented as a "loyal cook" for a fictional Colonel Higbee's Louisiana plantation on the Mississippi River. Jemima was said to use a secret recipe "from the South before the Civil War", with their "matchless plantation flavor", to make the best pancakes in Dixie. Another story described her as diverting Union soldiers during the Civil War with her pancakes long enough for Colonel Higbee to escape. She was said to have revived a group of shipwrecked survivors with her flapjacks.
Beginning in 1894, the company added an Aunt Jemima paper doll family that could be cut out from the pancake box. Aunt Jemima is joined by her husband, Uncle Rastus (later renamed Uncle Mose to avoid confusion with the Cream of Wheat character, while Uncle Mose was first introduced as the plantation butler). Their children, described as "comical pickaninnies": Abraham Lincoln, Dilsie, Zeb, and Dinah. The paper doll family was posed dancing barefoot, dressed in tattered clothing, and the box was labeled "Before the Receipt was sold". (Receipt is an archaic rural form of recipe.) Buying another box with elegant clothing cut-outs to fit over the dolls, the customer could transform them "After the Receipt was sold". This placed them in the Horatio Alger rags-to-riches American cultural mythos.
Rag doll versions were offered as a premium in 1909: "Aunt Jemima Pancake Flour / Pica ninny Doll / The Davis Milling Company". Early versions were portrayed as poor people with patches on their trousers, large mouths, and missing teeth. The children's names were changed to Diana and Wade. Over time, there were improvements in appearance. Oil-cloth versions were available circa the 1950s, with cartoonish features, round eyes, and watermelon mouths.
A typical magazine ad from the turn of the century created by advertising executive James Webb Young, and the illustrator N.C. Wyeth, shows a heavyset black cook talking happily while a white man takes notes. The ad copy says, "After the Civil War, after her master's death, Aunt Jemima was finally persuaded to sell her famous pancake recipe to the representative of a northern milling company."
âŚAlthough the Aunt Jemima character was not created until nearly 25 years after the American Civil War, the clothing, dancing, enslaved dialect, and singing old plantation songs as she worked, all harkened back to a glorified view of antebellum Southern plantation life as a "happy slave" narrative. The marketing legend surrounding Aunt Jemima's successful commercialization of her "secret recipe" contributes to the post-Civil War nostalgia and romanticism of Southern life in service of America's developing consumer cultureâespecially in the context of selling kitchen items.
African American women formed the Women's Columbian Association and the Women's Columbian Auxiliary Association to address the exclusion of African Americans from the 1893 World's Fair exhibitions, asking that the fair reflect the success of post-Emancipation African Americans. Instead, the Fair included a miniature West African village whose natives were portrayed as primitive savages. Ida B. Wells was incensed by the exclusion of African Americans from mainstream fair activities; the so-called "Negro Day" was a picnic held off-site from the fairgrounds.
âŚThese educated progressive women saw "a mammy for the national household" represented at the World's Fair by Aunt Jemima. This directly relates to the belief that slavery cultivated innate qualities in African Americans. The notion that African Americans were natural servants reinforced a racist ideology renouncing the reality of African American intellect.
Aunt Jemima embodied a post-Reconstruction fantasy of idealized domesticity, inspired by "happy slave" hospitality, and revealed a deep need to redeem the antebellum South. There were others that capitalized on this theme, such as Uncle Ben's Rice and Cream of Wheat's Rastus.
The term "Aunt Jemima" is sometimes used colloquially as a female version of the derogatory epithet "Uncle Tom" or "Rastus". In this context, the slang term "Aunt Jemima" falls within the "mammy archetype" and refers to a friendly black woman who is perceived as obsequiously servile or acting in, or protective of, the interests of whites.
Barry Presgraves, then 77-year-old Mayor of Luray, Virginia, was censured 5-to-1 by the town council because he referred to Kamala Harris as "Aunt Jemima" after she was selected by Joe Biden to be the Democratic Party vice presidential candidate.
(also francisco franco was the fascist dictator of spain, so not even a dogwhistle)