Through (re)presentations in news media, art, pop culture as well as educational and other institutional contexts in addition to our own personal storytelling, stories shape how we make sense of our lives and what matters to us. Dominant stories of the imagined nation are told and retold often without question. But narratives which counter hegemonic storytelling also exist and continue to be passed on. Despite attempts at erasure and silencing in mainstream accounts and historiographies, contesting narratives which challenge oppressive ruling relations carry on. In this paper, I consider how narratives that expose and oppose dominant settler colonial myths are practices of creative resistance. Echoing Barbara Harlow (1987:7), I posit creative resistance not in opposition to, but alongside other forms of resistance such as armed struggle. Through this study, I theorize the concept of creative resistance against the logics and materiality of settler colonialism to examine three modes of narrative performance as political practice in the work of Students Against Israeli Apartheid (SAIA)-Carleton as part of the Palestinian Boycott, Divestment and Sanctions (BDS) movement, Rafeef Ziadah’s spoken word, and performances by the Freedom Theatre project in Jenin, Palestine. In exploring the stories of these creative projects, this study conceives of narratives as sites of struggle that are significant in the telling of history and therefore crucial to resistance.