Tamil Renaissance alludes to the artistic, social, social change and political developments that occurred in the Tamil-talking areas of Southern India beginning in the second 50% of the nineteenth century and enduring to the perfection of the counter Hindi tumults of the 1960s.
The period was described by an artistic recovery, initiated by Tamil essayists of two distinct groups. One favored an expanded blend of Sanskrit words with Tamil, trusting that such a combination raised the nature of Tamil dialect. The other group favored lessening Sanskrit words to the barest least, in the conviction that Sanskrit-root words made the Tamil dialect lose its independence. Quick engendering of Western thoughts and detailing of the Dravidian human advancement hypothesis amid the second 50% of the nineteenth century instilled a feeling of pride in taught Tamils, in the long run prompting the introduction of Tamil patriotism, which motivated the Dravidian development, the renaissance also had a profound impact on Tamil cinema.
There was no vanakkam before Tamil renaissance. In fact, there was no equivalent of vanakkam in Tamil. There was namaskaram among the learned, and probably because the learned were mostly from a specific section of the society. There was kumbidrenunga or kumbidren saami among the illiterates, which translates to ‘I am worshiping [you, Lord]’. Tamil Renaissance Movement, whose crux was to demonstrate that ‘Tamil civilization’ was an independent egalitarian society, wanted to get rid of namaskaram which was not Tamil and kumbidren which were not egalitarian. Translate namaskaram in Tamil and voila, vanakkam! Now vanakkam is the symbol of Tamil speaking people.
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