The Mammy is a middle-aged, often overweight black woman employed as a domestic servant to a rich white family, usually as a maid, cook, or nanny. Older Than Radio, Sub-Trope of Ethnic Menial Labor, Mammy was born in the Deep South of Antebellum America, but continued to be a presence for a century after the American Civil War and is also "popular" in Cuba. During slavery, she was largely resigned to her enslavement, perhaps even finding Happiness in Slavery, likely owing to the fact that she lived and worked in "The Big House" rather than toiling in the fields. After Emancipation, Mammy continued to serve as a menial domestic to whites and continued to aspire to little higher (though she may have wanted more for her own children if more options were available to them). In her freedom, she may have also moved north, although her position and character are largely unchanged whether she lives in rural Georgia or Chicago.

Mammy is often very plain in appearance, with no expressed sexuality. A white mistress was supposedly secure that having Mammy about the house was no threat to her husband's fidelity as opposed to a younger, prettier maid. In terms of character, Mammy is poorly educated but has abundant common sense and is competent in her domestic duties. She is servile toward the whites, but may be an Apron Matron toward her own family, or even toward her masters' children if she's in a position of authority over them. Her earthy common sense may, if her white masters or employers become sufficiently zany, lead her to become the Only Sane Man of the household and develop some characteristics of a Sassy Black Woman, perhaps even being driven to deliver a Whoopi Epiphany Speech.

Compare Magical Negro and Almighty Janitor. May also be the maid of a Maid and Maiden duo. The white family she works for may fall under Bad Boss or Pointy-Haired Boss, but don't expect the story to call them on it.

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Given the character's association with Minstrel Shows and racist stereotypes, many people find Unfortunate Implications in it, especially if she expresses Happiness in Slavery or not shown to have a life of her own outside of serving white people. However, more complex works may interrogate the type further by making her more well-rounded as a person or showing how she strives to be a positive mother figure in a bad situation.

While the archetype originates in the American Deep South, it can be invoked in other settings. In more modern times, she might be an immigrant, often Hispanic or Afro-Caribbean. In stories set in The Raj she might be Indian or Chinese (and more likely than not referred to as Ayah or Amah, respectively). The archetype can also be applied to characters that are simply "black coded": that is, people who are treated in the setting the same way real life black people are.

Not to be mistaken for someone referring to their actual mother as Mammy. "Mammy" and "Mam" are the usual familiar terms for one's mother in Ireland, as well as parts of Wales and the North of England, rather than "Mum" or "Mom". In Mrs. Brown's Boys, for instance, Agnes Brown is always addressed as Mammy or Ma.

Examples: