The article aims to compare and examine the artistic and historical value of the New Folk Movement, which shocked the Chinese literary and artistic fields in the late 1950s and another form of the folk movement, “Nueva Canción”, which began in Chile in the 60s. Generally, authorized literary works deal mainly with the so-called authorized works of each era or literary articles. But during the period transition between these authorized works or literary and artistic masterpieces, countless new forms appear to capture the voice of a new era. However, these new voices and new forms are often lightly addressed in the history of literature, as they often do not have formal completeness as an art. The New Folk Movement is one of the representative examples. The New Folk Movement in the late 1950s in the Chinese literary and artistic circles did not follow the authorized literary standards and literary practices of the time. This stylistic deviation in the history of literature is closely linked to the emergence of a new artistic subject, which is exactly the case with the New Folk Movement. The New Folk Movement was a movement to bring to the surface the voices of class subjects who had been most distant from the production or consumption of art works. Although this movement has failed as an art movement that creates new forms. However, the movement was an attempt to expand the boundaries and practices of literature and art by invoking new subjects and new forms of literary practice that have never been noticed in the history of literature. In this sense, it was rather a meaningful experiment to study in today’s academic world. The ‘Nueva Canción’ movement in Latin America has a comparable resemblance to the New Folk Movement. Interestingly, ‘Nueva Canción’ is remarkable for its success, unlike the New Folk Movement. Based on the review of the New Folk Movement, the article explores the possibility of thinking by comparing the case of the similar movement, the “Nueva Canción” movement, expanding the conditions and limits of Chinese contemporary literature to the third world level.