You make the case that her performance checks off all of the necessary bullets, and therefore this performance should be scored just as highly as Yuna's Les Miz. I will argue the other side of the brief. Tough, I know, but someone's got to do it . As a good advocate, I will do so through a series of objections:
-Objection #1: The bullets, as written, are undoubtedly true, but not comprehensive. As I mentioned in an an earlier post, the PCS guidelines implicitly assume and rely upon an aesthetic framework, without which the explicitly written explanations that you reference cannot possibly result in sensible outcomes.
If we are to believe Harold Bloom, the most important question that a critic addresses is actually the same as that for sports: greater than, less than, or equal to? IMO, although it is not explicitly stated in the bullets, this principle undergirds all aspects of the artistic components of PCS. It is not enough, in other words, that there is a consonance of music and performance. The reason that crayon drawings from the local kindergarten are not generally displayed in major museums, nor a grade-school writer of limericks chosen as Poet Laureate, is the same reason that li'l Miray is not getting a 9.5 in her components. None of these things, as a rule, display that which we believe to be aesthetically interesting and valuable: sureness and mastery of technique; complexity; nuance; individuated style and perspective; breadth, depth and power, both expressive and cognitive.
Now, it may be your point that these things are not explicitly explained in the bullet points. But I do think they are very much implied (all the talk of parts and wholes), and can be demonstrated to be practically and operationally present, as they should be. It is for this reason that a monotone naivete is not rewarded in PCS, as appropriate to the music as it may be. Should all this be made more explicit? I would vote in favor.
-Objection #2: Does this 6-year old skater really check off the boxes? I'm not so sure. The reason I say so is that almost all of the concepts and bullets you cite contain a critical idea: intentionality. Purpose, idea, concept, vision, motivation, symbolic meaning, interpretation, expression, involvement. What all of these key words share is intention. It is here that the youngster's program falls down.
First, there is the question of physical intention. Granted, the music is cartoony and stilted, which matches, at least approximately, the movements of the skater. But that is the point: is the skater intentionally moving this way to express the characteristics of the music? It is, I believe, more accurate to say that whoever supervised this program picked music which generally matched the skater's natural range and rhythm of movement. Compare this cartooniness with that of real professionals, such as Harold Lloyd, Charlie Chaplin, The Three Stooges, or even Bugs Bunny. When called upon to be cartoony or stilted, they can be, but in the most intentionally precise and graceful way imaginable. They are, one might even say, the Platonic forms of cartoony marches. The former is merely the struggles of a prodigious but real-life toddler. The latter is art.
Second, and somewhat related to the above, is the question of intellectual and emotional intention. In other words, apart from the question of whether the skater was deliberately and precisely moving a certain way (e.g. the micro-choreography), there is the issue of whether the six-year old intended that these movements express something highly specific that they meant for the audience to recognize. This is also aesthetically crucial. It is the reason that unintended silly accidents captured on video only make us latter-day Jackasses with limited half-lives on Youtube, while the exquisitely deliberate idiocies of Moe, Larry and Curly will, I am convinced, continue to outlive all of us, and our progeny.
Some concluding thoughts: All of this is not to say that figure skating programs, or art in general, must be full of seriousness and doom and gloom in order to be great. But adult simplicity and enthusiasm is different from childish artlessness. In my experience, one of the rarest traits is the ability to do exactly as one intends. In a performance activity such as skating, the trick is to be able to do this, and make people like it.