Gustavo Pereira Marques (born 4 June 1994), better known by his artistic name Djonga, is a Brazilian rapper, singer and songwriter.

He has recalled that "Black culture is strong in my family, and so samba was always present at parties...When I became more conscious of what I really liked in relation to music, what I most identified with because of my generation was Brazilian funk.

He was at the same time also being inspired by the works of Cazuza, Janis Joplin, Elis Regina, Elza Soares, Jimi Hendrix, MC Smith [pt], Marcelo D2 and, above all, Mano Brown.

Later, the single "Redenção", released with the rapper Primata, he began to make new partnerships, such as with his participation in the song “Santana 89” by the stoner rock band Arqueologia Siderúrgica.

At the end of 2016, he participated in Poetas no Topo 1 by Pineapple Storm TV, that reunited prominent MCs such as BK, Makalister, Menestrel and Sant.

[15] On the same day, on 13 March 2018, Djonga released his second album, titled O Menino queria ser Deus, that contains sharp lyrical questions around his personal life, career, and social and racial issues.

The album contains 10 tracks with appearances by rappers such as Sant, Karol Conká and Hot,[16] with executive producers from Ceia Ent., production by Coyote Beatz and mixing and mastersounding by Arthur Luna.

"[20] "Ladrão" reaffirms the promise of the music from the album to be a reference to one of the largest names in the rap scene of Belo Horizonte, and more than that, to show an artist with ample vision about social issues that surround Brazil, especially as they are related to Black people.

The album delves into society's oppressive expectations of masculinity, particularly as this relates to Black men, as well as with racism at large, family, and with the music industry.

[27] Videos of the rapper performing in front of crowds that were without masks and disregarding the protocols put forth by the World Health Organization circulated online.

The performance sparked great backlash against Djonga, given the severity of the pandemic at the time in both Rio de Janeiro the city and the state.

Some commentators began to point out racist double standards tied to the ability for other non-Black artists such as Wesley Safadão to host a show with more than 40,000 people in Natal with considerably less backlash.