This research project was a mixed method of both a quantitative and qualitative design to examine the perception of 38 gay male’s life satisfaction post coming out. In the past few years, laws affecting the gay community have been at the forefront of policies and debates, given all communities an insight into the specific challenges that are endured. As the gay community starts to openly live their lives as a gay man, there has been a need to accept and understand not only the challenges, but to give acceptance. Additionally, this project sought out to determine if the gay community feels that their life satisfaction has increased post coming out to their family, friends, and coworkers, furthermore to be able to live a life not of shame, but of pride and acceptance of themselves.

abstract: The purpose of my dissertation project is to understand how Same-Gender Loving (SGL) Black Christian men negotiate their sexuality and spirituality in spaces that are not always accepting of SGL people, by examining on how Black SGL men perform their sexual identities within hegemonic institutions that often deny their existence or outwardly seek to exclude them from their communities. I have identified three scripts that Black SGL men often follow within Black religious settings. The first script that SGL people often follow in the church is that of deliverance-- confessing their same-gender desires and maintaining that they have been delivered from those desires The second is "don't ask don't tell" performed by men who many believe and suspect of being SGL; so long as they do not publicly affirm these beliefs they are able to hold a variety of positions in their religious communities.. The last script involves accepting one's same-gender desires and also affirming one's Christian beliefs, proclaiming that the two are not at odds with one another. I examine how these scripts and/or others are performed by and on the bodies of Black SGL males in two distinct sites. The first is the career and music of former gospel star Anthony Charles Williams II (Tonex / B. Slade), who has utilized the three scripts at various times in his career. The next site is that of theatre, where I explore how these scripts have been employed in dramatic texts. By reading Christian Black SGL performance through its theological parameters, I aim to discern the avenues in which Black people in the United States are able to perform same-gender sexual identities in spaces that are constructed as "homophobic," and in so doing combat the narrative of hyper-homophobia in Black communities. / Dissertation/Thesis / Ph.D. Theatre 2013

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