The text uses Tadeusz Różewicz’s drama Białe małżeństwo (White Marriage) and two films – the film adaptation of this drama by Magdalena Łazarkiewicz, 1992 and Córki dancing (The Lure) by Agnieszka Smoczyńska, 2015 – as examples, along with several references to Polish contemporary literature written by women – to show the ways in which contemporary Polish culture is interested in the mythological creatures of mermaids/sirens. It posits the thesis that as a result of associations dating back to Polish medieval historiography relating to the legendary first Polish queen Wanda, on the one hand with Amazons and on the other with Mermaids (this association persisted in Sarmatian literature and took on various forms in Romanticism), today’s references to the mermaid bring to mind the Amazon warriors of legend. This association is particularly powerful, considering that the Polish capital Warsaw has taken the iconic image of an armed siren as its coat of arms. This mermaid/Amazon, as seen in the Warsaw coat of arms, used as part of the iconography referenced by the recent Black Protests (in the autumn of 2017 women in Poland organised mass protests against government moves to amend abortion legislation – as part of the protest mermaid sculptures around Warsaw had black sashes attached with the words “You are not alone”), evokes meanings rooted in Polish culture. On the one hand, these involve Amazons seen as courageous and autonomous original residents of Polish lands, and on the other the community of women injured by the patriarchy – women who committed suicide by drowning (sirens from Polish mythology).